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More Pages! More Color! Bonus Surprises! 







L> : 


Autographs and Personal Notes From SF stars 
Complete indextoSTARLOG'sPast 



!l 71896 49112 1 







• SPECIAL EFFECTS— Exclusive photos, interviews and diagrams of behind-the- 
scenes movie magic! 

• MOVIE PREVIEWS & REVIEWS-The earliest information on new SF & Fantasy 
productions, plus the full story on the making of each film. 

• DAVID GERROLD— Science fiction's outspoken young author writes a regular col- 
umn on "The State of the Art." 

• INTERPLANETARY EXCURSIONS, INC. -Journey to a different part of the solar 
system each month with Planetary Expert Jonathan Eberhart. illustrated with full- 
color space art! 

• TV EPISODE GUIDES— Cast lists, plots, credits, interviews, photos & more data on 
current and classic SF-TV series. 

• MOVIE CLASSICS— Definitive retrospectives on the most popular of SF films, with 
interviews & full-color photos! 

• STAR TREK & SPACE: 1999— Susan Sackett's latest update from the set of the Star 
Trek movie, plus producer Gerry Anderson's up-to-the-minute comments on Space: 
1999 and his future projects. 

• LOG ENTRIES— Latest news from the exciting worlds of SF. fantasy and science fact 1 

• CONVENTIONS. COMPUTERS & COMICS-Any subject that even peripherally 
touches the SF world is covered in STARLOG! 

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■ i 

JULY 1979 

Our First Three Years, Conveniently Cross-Referenced . 


"This Is The Captain Speaking" 


He is Spock 


Stalking The Wild Saucer 

HOUR 25 

Science Fiction on Radio 


Congratulatory Notes & Autographs From The SF Stars _ 


The Full Story Of the Next Bond Epic 


Preview Of The Lovecraft Mythos On Film 


Behind-The-Scenes Of starlocs First Film 


A Revealing Talk With The Director of Alien' 




Letters From Our Readers 


Latest News From The Worlds Of Science Fiction & Fact . 


"People News & A Premeditated Parsec 


Three Years Down, Six Months To Co 


Jupiter s "Mini Solar System ' 


Through The Gateway To Prehistoric Times 







From "2001 To "The Last Wave __________ 


From "Destination Moon To "The Time Machine" 




"SPACE: 1999" : 


From Lost in Space To The incredible Hulk" 54 


JULY 1979 #24 

Business and Editorial Offices 

O'Quinn Studios, Inc. 

475 Park Avenue South 

New York, NY 10016 





Art Director 

Managing Editor 

Associate Editor 

Science Editors 



West Coast Editor 

Senior writer 

Assoc. Art Directors 



Art Assistants 









Space Art Advisor 

Special Projects 

Associate Publisher 

Assistant Publisher 

Production Assistants: Beverley Gerdin- 
Campbell, David Hirsch, Peter Mosen, Angelique 

contributors This issue: Bob Burns, Leo Clark, 
William Fowler, Jamie Gllsh, Alan Hendry, Joseph 
Kay, Frederick King, Barbara Lewis, Lem Pitkin, 
Sal Quartuccio, Tom Scherman, Joe viskocll. 
For Advertising information: Ira Friedman, 
Rita Elsenstein (212) 689-2830 

ABOUT the COVES: This Issue starlog celebrates 
its third anniversary with a special tribute to the 
SF-tv shows and films that we've enjoyed so 
much over the years, the new ones that are cur- 
rently building legions of fans and those exciting 
projects that are still in the works. 

Howard Zimmerman highlights the characters 
and elements that combine to make science fic- 
tion such great entertainment: heroes and 
villains; robots and aliens,- space hardware and 
weaponry; strange worlds and exotic creatures. 
For a full-color review of some of the best of SF 
media, see the Special Anniversary Section, star- 
ting on page 35. 

Kerry O'Quinn 

Norman Jacobs 

Elaine Ashburn-Silver 
Rita Eisenstein 

Robert Ericksen 
Ira Friedman 

Beverly Gerdin-Cam 
David Hirsch 


in the Beginning . . . 

In December 1972 Norman Jacobs 
and I rented a small office at 34th 
Street and Madison Avenue and 
opened our doors as a magazine 
publishing company. 

Norman and I had met several years 
earlier in the art department of another 
publishing company— he, designing a 
movie fan magazine, and me, designing a 
romance magazine. Norman was born 
and raised on the streets of Brooklyn, and 
I was a transplant from the hills of 
Austin, Texas. Our backgrounds, our life- 
styles, and our personalities were (and are) 
complete opposites. By ordinary thinking 
we should never have ended up friends — 
much less business partners. 

But we also had much in common: we 
were both artists, creative and sensitive, 
but with a strong sense of practicality. We 
both had energy to burn and a willingness 
to dive into a project all the way— with no 
efforts too tiring, no hours too long, and 
no goals too high. It was good we shared 
that attitude. 

At first, Norman and I did every job 
from bookkeeping to cleaning. We each 
had a drawing table (no desk) where we 
spent endless hours doing layouts— with a 
telephone (one between us on the 
radiator) stuck in between shoulder and 
ear. Our first three employees were 
Roberto Valencia, Manuela Soares and 
Jon-Michael Reed. They worked like 
slaves at poverty wages but have gone on 
to impressive careers— Roberto in ar- 
chitecture, Manuela in book publishing 
and Jon-Michael as a syndicated news- 
paper columnist. I guess our office was 
not a bad launching pad. 

For more than four years Norman and 
I took no salary. We kept ourselves alive 
by freelance jobs — designing ads and 
brochures. And we produced special pub- 
lications for other publishers: sewing 
books, sports and monster magazines, 

and finally an outside publisher asked us 
to put together a special one-shot 
magazine on Star Trek. 

A Pile of Trek . . . 

We quickly hired writers to gather in- 
terview and research materials on Star 
Trek. They assembled rare photos, the 
first complete episode guide to all three 
seasons, and we produced a wonderful 
magazine — complete with an original 
cover painting of Kirk, Spock, and the 
Enterprise. We turned the completed 
package over to the client/publisher along 
with our bill for the job. 

Months passed. The publisher told us 
he could not get his distributor to accept 
the magazine. They were worried that the 
title Star Trek might have legal complica- 
tions. The publisher approached several 
other distributors, and they all rejected 
the magazine. "Sure," was the usual 
answer, "there are a few fanatic Trekkies 
out there but not enough to justify a na- 
tional newsstand magazine." Finally, the 
publisher admitted defeat. 

He handed the entire magazine back to 
us, saying he could not get it distributed 
and he could not pay us. This was the 
winter of 1975. 

Brainstorming . . . 

When our little staff of six looked at 
the Star Trek magazine, we started 
brainstorming. We asked questions: "Do 
we really want to publish this magazine 
like it isl" "What would be ideaP." 
"What kind of magazine is needed!" The 
notion began to form that what we 
wanted to created was a science-fiction 
magazine devoted to movies and TV. 

We decided to start cautiously with a 
quarterly newsstand magazine and if it 
proved successful, increase the frequency. 
We decided that what was needed was a 
beautiful magazine (to help pull SF out of 
the pulp ghetto) with full-color art and 
photos — an authoritative magazine featur- 

STARL0G is published by O'QUINN STUDIOS, INC., 475 Park Avenue South, New York, n.y, 10016. This is issue 
Number 24, July 1979 (Volume Four). Content Is © Copyright 1979 by O'QUINN studios, inc. ah rights 
reserved. Reprint or reproduction in part or in whole without written permission from the publishers is 
strictly forbidden. STARLOG accepts no responsibility for unsolicited manuscripts, photos, art, or other 
materials, but if freelance submittals are accompanied by a self-addressed, stamped envelope, they will 
be seriously considered and, if necessary, returned. Products advertised are not necessarily endorsed by 
STARLOG, and any views expressed in editorial copy are not necessarily those of STARLOG. Second class 
postage paid at New York, NY and additional mailing offices. Subscription rates: S1 7.49 one year (1 2 issues) 
delivered in U.S. and Canada; foreign subscriptions S23.51 in U.S. funds only. New subscriptions send 
directly to STARLOG, 475 Park Avenue South, New York, NY 10016. Notification of change of address or 
renewals send to STARLOG Subscription Dept, P.O. Box 1999, Farmingdale, NY, 11737. Printed in U.S.A. 

6 STARLOG/July 1979 

Susan Stevens 
Angelique Trouvere 

Bob Woods 
Howard Zimmerman 

ing expert columnists, writers, and research 
ers — an informative magazine including 
speedy news and behind-the-scenes inter- 
views and articles. And, of course, we 
wanted a magazine that would use up 
those Star Trek materials collecting dust 
on the shelf. 

We considered dozens of magazine 
titles and finally settled on STARLOG— for 
two main reasons: first, it was our own 
totally original word, and second, it con- 
tained both the romance of science fiction 
and the factual element. That was our for- 
mula: romance and facts. We approached 
our distributor with this exciting new 
magazine, and we were turned down flat] 

"Star Trek is dead!" we were told. 
"It's been off the air for six years. 
Besides, even if the first issue sold well, 
you couldn't possibly have enough ma- 
terial about sci-fi to fill a second issue." 

Rising from the Dead . . . 

We staggered back to our office and set 
about gathering newspaper clippings and 
other proof that would support our posi- 
tion that there was indeed a large science- 
fiction audience "out there" sufficient to 
justify a mass-distribution magazine. 
Don't forget, this was spring of 1976, and 
Star Wars was over a year in the future. 

Fortunately we had an ally at the 
distributing company: Dick Browne, a 
vice-president who believed as we did, and 
who took our clippings and other data 
and persuaded his company to distribute 


Issue #1 appeared on newsstands in 
June of 1976, usjng the original Star Trek 
cover art that had been painted a year 
earlier. We used most of the other Star 
Trek materials also, and the issue has 
become a classic collector's item. 

Changing Hats . . . 

Our first STARLOG editor was David 
Houston, a close friend, a talented writer 
and editor, and one of the few people 
who shares my special sense of adventure, 
drama and romanticism. David knew ex- 
actly what spirit I wanted starlog to 
have, and he understood that the spirit of 
a magazine is more important than any 
other single element! David served as 
editor on the first four issues. 

Tiring of New York's frightful winters 
(and having had three watches stolen from 
his wrists while walking the streets of 
Manhattan) , David moved to Los Angeles 
and has been our West Coast Editor ever 

since. I quickly put on his hat (unable to 
trust anyone else with the newborn child) 
and became Editor in Chief for the next 
six issues. 

By #3 (winter 1976) we had increased to 
eight issues per year, and around that time 
a new fellow arrived at our door, job 
hunting. He had several years' experience 
as a public school teacher, a lifetime of 
science-fiction reading behind him, and 
authority-collector-columnist credentials 
in the comics field. We stuck him at a 
desk in the storage room (our only space) 
to see what he could do. He learned 
quickly, was eager for more respon- 
sibilities and by #11 was wearing the 
editor's hat at starlog. He continues in 
that position to this day. He's Deane Zim- 
merman's husband, Howie. 

Gathering the Family . . . 

One of our first goals, editorially, was 
to attract expert sources of ideas and 
information. In issue #4 David Gerrold 
started giving us a commentary column of 
tremendous variety and stimulation, and 
in #6 Susan Sackett launched an inside 
news column right from Gene Rod- 
denberry's elbow. 

In 1977 we started increasing our staff. 
David Hutchison was lured away from a 
theatrical career by a completely new 
challenge and a small paycheck. Howard 
Cruse was lured away from underground 
comics (where he has since returned) to 
become our art director. Ed Nana, 
who produced the record Inside Star Trek 
and wrote the book Horrors — From 
Screen to Scream, was lured away from a 
good job at Columbia Records by the of- 
fer of a cut in pay and a chance to write, 
write, write! 

Within the past year Jonathan Eberhart 
and Ron Miller have brought space ex- 
plorations to our pages, and Gerry Ander- 
son has brought us space dramatizations. 
It's lucky for all of us that money is not the 
primary concern of these talented people. 

Crowing to Park Avenue . . . 

Howard Zimmerman took it in the 
storage room as long as he could. Norm- 
an and I shared the same office as long 
as we could. There were, in May 1977, 
nine of us in our cramped little offices, 
and we were having too many close en- 

Norman and I decided to take a giant 
step (and risk) by renting offices on Park 
Avenue — offices that were three times 

larger than what we had. We hoped 
future growth would eventually justify the 
move. We entered our present quarters in 
July, and within nine months we were 
busting at the seams. 

That summer Star Wars became the 
most important movie in decades, and the 
science-fiction boom was on. starlog's 
success had given birth to a trade paper- 
back series (Photo Guidebooks) and our 
starlog records label. In January 
1978 future magazine premiered (now 
future life ) , and last summer we started 
our SF Color Poster Book series. 

Spring 1979 saw starlog turn into a 
monthly magazine, along with the ap- 
pearance of cinemagic and our monster 
magazine, fangoria (Formerly fantastica) . 
We added another suite of offices, but 
with 23 full-time employees we are still too 
crowded. I guess we always will be. By 
our 4th Anniversary we expect our 
publishing projects to require at least 10 
more staffers. 

The Dream . . . 

Although we have grown larger and 
more professional, we maintain personal 
contact with our readers. We attend SF 
conventions around the world (Tom 
O'Steen just represented us in Germany), 
and we read every single letter we receive! 

In addition to presenting the best news 
and feature magazine in the science fiction 
field, we also intend that starlog be a 
source of inspiration to our readers. In #8 
I said, "Our world desperately needs ex- 
citing , challenging visions in order to help 
us see beyond the dull details of everyday 
life. A culture that does not dream of the 
stars is doomed to stagnation." 

We want to entertain you, to inform 
you and to provoke you to think. As 
David Houston said in # 2, "starlog will 
. . . give you worlds to think about and to 
look forward to." 

When Norman and I first opened our 
doors we knew there was no reason that a 
successful business could not also make 
people's lives happier and help make the 
world better. The success of starlog is 
proof that we were right. We pledge, at 
this 3rd Anniversary celebration, that as 
long as there are human beings, of any 
age, who need science-fiction informa- 
tion, entertainment and inspiration, 
starlog will work to provide it. 

Happy Birthday, everybody! 

Kerry O'Quinn/ July 1979 

STARLOG/July 1979 7 

Because of the large volume of mail we 
receive, personal replies are impossible. 
Comments, questions, and suggestions of 
general interest are appreciated and may 
be selected for publication. Write: 
475 Park Avenue South 
8th Floor Suite 
New York, N.Y. 10016 


... I would like to see in STARLOG the complete 
episode guides for the following series: Batman, 
Man from Atlantis, Kolchak—the Night Stalker, 
Superman, The Green Hornet, The Bionic 
Woman, The Six Million Dollar Man, Voyage to 
the Bottom of the Sea, Night Gallery. 

Joe Mayer 

Park Place Ltd., Apt 7-B 

Eagle Pass, TX 78852 

The Man from Atlantis episode guide is currently 
in the works and will appear in STARLOG in the 
near future. Whether the others ever appear in 
our pages depends on reader response to your sug- 
gestions. Come on, Starloggers! 


... I think the Brothers Hildebrandt's art work is 
fabulous. They are, in my mind, the best fantasy 
artists. I have heard that their new book, 
Urshurak, will be published this spring. I also 
heard that it will be published next spring. Which 
is the correct date? 

Keith Yatsuhashi 

Walpole, ME 

Well, the Brothers are indeed fabulous artists, 
and they are coming out with their own book 
called Urshurak, but it will not be published this 
or next spring. According to Greg Hildebrandt, 
Bantam Books will have Urshurak on the book 
shelves this August. The Tolkienesque tale in- 
cludes 16 full-color creations from the Brothers, 
as well as 52 black-and-white renderings. It prom- 
ises to be everything you would expect. 


... I followed David Houston's "SF Currents in 
the Mainstream" series with great interest. A 
number of his remarks regarding famous writers' 
sometimes-bleak protrayals of the future have 
shed a great deal of light. However, his column in 
#21 concerning Huxley and Orwell contained a 
number of gaffs and confusions. To wit: 

Houston correctly labels the societies depicted 
in 1984 and Brave New World as totalitarian. 
Then he praises their authors for their brilliant 
"exposes of the potential evilsof socialism." One 
should not take for granted, however, as Houston 
unfortunately does, that totalitarianism is 
socialism. In a socialist society, the means of pro- 
duction are owned by society, and the state is 

subordinate to society, not the other way around. 
As such, it can be democratic, cooperative and 
free — see the Israeli kibbutzim — and can retain 

The society of 1984 is not socialistic: it has, in 
fact, a class structure. Since the state rules society, 
1984 is really a depiction of totalitarian collec- 
tivism, of which there are two types: Fascism and 

As for Brave New World, Houston writes, 
"...their god is Henry Ford..." Now, as 
Houston should know, Ford was, in his day, the 
world's largest industrial capitalist (who, in- 
cidentally, gave money to Hilter's Nazi move- 
ment and was decorated by the Nazis before 
World War II). Clearly, Huxley's target was 
Fascism as capitalism's inherent potential. 

Orwell was a socialist — why would he write 
about the evils of his own cause? H.G. Wells 
believed that socialism was both practical and 

There should be more articles like Houston's. 
If STARLOG is really concerned about social 
issues (e.g., gay rights, E.R.A.), then it is most 
logical that its pages should be open to debate 
about the most social issue of all — socialism. 

Randy Phillips 

147-30 70 Road 

Flushing, NY 11367 


... I enjoyed Mr. Houston's analysis of George 
Orwell's 1984. (STARLOG #20) At least some in- 
dividuals are aware that stateism is not the best 
alternative to our present economic and social 
order. I admire Messrs. O'Quinn and Jacobs for 
publishing a magazine that is not afraid of saying 
a few good words about capitalism. 

Cindy M. Curran 

16573 Rushmore 

Santa Ana, CA 92708 


. . . Shame on David Gerrold for rewriting 
Heaven Can Wait without acknowledging the 
rather lengthy genesis of said film. True, he at 
least mentions that HCW is a remake of Here 

Comes Mr. Jordan. But Gerrold ignores the 
writers completely, and that's a no-no. Heaven 
Can Wait was written by Elaine May and Warren 
Beatty, from the screenplay Here Comes Mr. 
Jordan, written by Seton I. Miller and Sidney 
Buchman, adapted from a play by Harry Segall. 
Had David bothered to include the above infor- 
mation, it would have been possible to trace the 
origins of the plot contrivance that ends the cur- 
rent film. But then Gerrold would have had to 
rewrite a pre- 1941 play and that would have taken 
away his whole excuse for writing that column in 
the first place. Hey, not a bad idea at that! Let's 
vote on it! All in favor. . . . 

Russell L. Bates 

Andarko, OK 


... I wish to invite your attention to a grave error in 
"Statues of the Gods" (STARLOG #22). Mr. 
McDonoghkin points out that the eight-letter word 
"baseball" may be anagramatically transposed to 
form the words "lab base," a seven-letter phrase 
containing one two few lower-case "L"s and, 
subsequently, one too few letters. Utilizing a por- 
table typewriter, I cannot help but notice that the 
lower-case " L" is produced by striking the " L" key 
in the unshifted position. This, suspiciously, is the 
only means of producing the numeral "1." If the 
number one in the form of the lower-case " L" were 
to be included in the cryptic spelling of the word 
"baseball," then it becomes obvious that the 
phrase "lab base 1" will result. 

This, then, is our key. . .the location of "LAB 
BASE 1 " may be interpreted to be interrelated with 
the typewriter company whose very device makes h 
possible to determine the location of the original 
contact. . .which is now known not to be in 
Canada, as my colleague has incorrectly assumed, 
but rather, within our own borders, in the home 
state of the Smith Corona Corp. (which, for the 
sake of saving embarrassment, shall remain 

To say nothing of which coronal activity is 
directly reponsible for the activity of the Northern 
Lights . . . which is perhaps the central cause of con- 
fusion between the two theoretical locations for 
McDonoughkin's proposed "initial landing site." 

William R. Warren Jr. 

Vice President— Puget Sound Star Trekkers 

153 South 160th, Apt. #73 

Seattle, WA 98148 


... In issue #21 , you made an error in a caption 
for the Buck Rogers article. Felix Silva did not 
play Twiki, he was Killer Kane. 

Walter Agerton 

Carmel, CA 

Your're half right (so were we). Felix SLUa played 
Twiki (aided by the voice of Mel Blanc)— Henry 
Silva played Kane. 

(continued on page lOi 

8 STARLOG/y«/y 1979 

Technology Of The Future, Today! 
With Chronograph Or Alarm 

nary light striking the solar 
cell on the face of the watch 
is converted into electricity, 
which in turn charges the bat- 
tery. Power is drawn from any 
available light, even an office 
lamp. Because of the solar 
panels, time-keeping accuracy 
is consistent and battery life is 
extended for years. The battery 
in a conventional watch will 
drain and require replacement 
within one year, while the bat- 
tery in this solar-powered 
watch will last for many years. 

Its ELECTRONIC: The quartz 
crystal movement insures 
average accuracy to within 7.5 
seconds per month, although 
greater accuracy can be ex- 
pected. A 'continuous readout 
shows you the hour, minutes, 
seconds, and with the touch of 
a button, the monfh, date, and 
day of the week appear. The 
calendar is programmed for 
the number of days per month 
and resets automatically to the 
first day of the next month. At 
night, a button-operated light 
provides bright, easy reading. 

remarkable feature is the 
chronograph stopwatch, with 
built-in memory. It enables you 
to time an event within ac- 
curacy of 1/100 of a second. 
The chronograph also func- 
tions as a "lap timer" which 
continues counting the split 
seconds while you freeze the 
running time for reading. This 

way you can use it to figure the 
time of a lap, for example, and 
still get the overall race time - 

or Alarm: The 24-hour alarm op- 
tion is a handy and versatile 
feature. You can easily set the 
alarm for any minute of any 
hour, day or night. The elec- 
tronic alarm signal "chirps" for 
a full 60 seconds. It can wake 
you; it can remind you of ap- 
pointments, phone calls and 

These solar-powered time- 
pieces offer unsurpassed qual- 
ity you can count on. Extensive 
factory testing and quality con- 
trol procedures assure reli- 
ability. They are not constructed 
of base metal or silver tone, but 
100% rugged, stainless steel, 
including adjustable band 
(with removable links). The 
special imprint on the face is 
permanently sealed to a 
scratch-resistant mineral crys- 
tal. This revolutionary crystal, 
superior to common glass and 
pLastic, assures your watch 
its "new" look for years. 

All these features combined 
offer one of the most attrac- 
tive, technologically advanced 
watches available anywhere. 
Check the so-called compe- 
tition and see for yourself what 
value for the dollar these 
watches give you. 

The Only Watch Of Its Kind On The Face Of The Earth, Featuring: 

• Truly Operative Photo-Voltaic Solar Cells 

• 100% Solld-State/Electronlc Quartz Movement 

• Continuous LCD Readout With Push-Button Nlte-Llte 

• Multi-Function Display With Chronograph Or Alarm Option 

• 100% Stainless Steel Case And Adjustable Solid-Block Band 

• Durable, Scratch-Resistant Mineral Crystal 

A Limited Warranty guarantees 
your watch movement remains 
in 100% working order for ONE 

Order Today and Wear Your Timepiece of the Future, 

mail to: 


c/o FUTURE Magazine 

475 Park Ave. South dept.S24 

New York, NY 10016 


□ STYLE A W/ALARM $89.95 D STYLE B W/ALARM $89.95 


(cash, check, money order) 



(includes postage) 


State Zip 


Note: If you don't want to cut the coupon, please print your order on a separate 

piece of paper. 

(continued from page 8) 


... I recently saw a painting of Jupiter in Omni 
magazine by the artist Adolf Schaller. I wrote to 
the magazine inquiring about this painting, to see 
if I could purchase a reproduction of it. They, in 
reply, referred me to you. If you could be of any 
assistance I would appreciate it very much. 

Joan M. Lurker 

Bernardsville, NJ 

The painting, "Jupiter Probe," is featured in the 
STARLOG Photo Guidebook, SPACE ART, as a 
full-color, two-page spread. There have been 
more inquiries about this work than any other 
painting in the book. The original is part of the 
STARLOG collection, but there are no plans to 
reproduce it. Schaller, however, is one of the most 
talented visionaries in the art field, and we are of- 
fering another of his original paintings as one of 
the future prints in the Space Art Club. He is also 
featured in "Future Gallery" (centerspread of 
FUTURE #SJ with an equally fantastic vista. 


... I have just seen Starcrash for the third time 
and the movie is great . 

David Epstein 

4927 Gloria 

Encino.CA 91436 

... I recently saw Starcrash. It has got to be the 
worst movie I've ever seen in my life. 

Francis Nolan 

San Jose, CA 


... As I sat watching Buck Rogers, I realized 
something was wrong. Was it nonexistent pro- 
duction values? No. Was it bad acting? No. 
Suddenly it came to me — it was that stupid robot, 
insulting my intelligence with lines like "You're 
my kinda guy, Buck," "Hey, Taxicab!" and "I 
hope you know this violates my warranty." Glen 
Larson strikes again! 

Steve Burns 

1853 Burlewood 

CreveCoeur, MO 

. . . For me, the highlight of the film was the vocal 
characterization of Twiki, as performed by Mel 

Lionel Smith 

Fairbanks, AK 


...Bravo for "Science Fiction in Styrene!" 
( STA R LOG #2 1 ) I have been building science fiction 
and space-related kits for over 10 years and I 
thought I was just about the only one. Altogether 
I have owned approximately 40 of the kits men- 
tioned in the checklist. I never did quite forgive 
Aurora for not making a kit of the Jupiter 2 from 
Lost in Space. Yanchus mentioned in his article 

10 STARLOC/July 1979 

that a Jupiter 2 kit is marketed in Japan. Does 
anyone know the whereabouts of such a kit? 

Johnny Lowe 

800 Live Oak Drive 

Clinton, MI 39056 

A few of the kits may have found their way to 
American shores but you may have trouble get- 
ting their current owners to part with them. One 
place to look is in STARLOG 's annual Science Fic- 
tion Merchandise Guide, coming up in our 
December issue. 


... I enjoyed your article on science fiction 
models but your SF model checklist is somewhat 
incomplete. Monogram is introducing two new 
Battlestar Galactica models this year, the Galac- 
tica to be available in May and a baseship in Oc- 
tober. Two ships from the new Buck Rogers will 
also be available in October. Entex Models will 
be releasing four ships from the movie Message 
from Space, as well as two versions each of the 
Phoenix and the commander's jet from Battle of 
the Planets. 

Robert L. Hurt 

6906 West Friendly 

Greensboro, NC 27410 

The traditional curse of the publishing business is 
something called "lead time, " which refers to the 
intervening weeks between the writing and editing 
stages of a publication and its actual on-sale date. 
In this instance, the model manufacturers an- 
nounced their 1979 lines during our lead time. At 
the time we went to press, the checklist was com- 
plete. But thanks for the information. 


... I am with the 73rd Military Intelligence Co. 
Aerial Surveillance Unit stationed in Germany. 1 
hope to see Battlestar Galactica on TV here soon, 
I noticed the photograph in STARLOG #18 of 
Apollo and Starbuck — they are wearing the Mili- 
tary Intelligence Insignia on their collars. What 
significance does it have in the series? And the 
patch on their sleeves? 

PFC Thomas Thiessen 

73rd M.I. Co. 

APO New York 09359 

The shoulder patch bears a striking resemblance 
to a Buddhist mandala — a symbol used as an aid 

to meditation. The combination of these symbols 
certainly does suggest some unusual implications, 
though both were most likely chosen for the 
"futuristic look. " 


. . . Mr. Phelps and Mr. Dornchez should read 
each other's letters (STARLOG #21). One thinks 
the effects in Superman are ' ' fine' ' and complains 
about the story; the other is content with the 
storyline, but rips the effects. Maybe the picture 
was too heavily promoted— but Warner was try- 
ing to insure a $50 million investment. A much 
greater crime is the sort of TV overkill used to 
foist garbage like The Late Great Planet Earth off 
on an unsuspecting public. 

R. Forman 

Englewood, NJ 

. . .I've seen Superman — 77ie Movie 10 times so 
far. Its minor flaws are insignificant when bal- 
anced against the rest of this grand and epic film . I 
loved it, period. 

Peter W. Kelly 

Depew, NY 14086 

... I have seen the new Superman film a total of 
17 times (as of this writing) and I have found it to 
be the most accurate and beautiful rendition of 
any comic book/fantasy hero on film — a labor of 
love and a work of art! 

Brian Dreger 

34681 Chestnut Ridge 

N. Ridgeville, OH 44039 


... In STARLOG #7 you said that in the future you 
would have Robby the Robot blueprints. When? 

Todd Sharp 

3962 South Syracuse Way 

Denver, CO 80237 

We don 't know how you missed our announce- 
ment, Todd, but the Robby Blueprints have been 
available for a while now, at S3. 00 per copy, from 
Robby Blueprints, c/o STARLOG, 475 Park A ve. 
So., NY 10016. 


...After reading Kerry O'Quinn's "From the 
Bridge" in issue #22, I felt like standing up and 
shouting Right On! Luckily I have parents who let 
me develop my own tastes when I was young and 
let me keep them as I got older. But, sadly, the boy 
in the editorial could have been any number of my 
friends. Often parents try to imprint their likes 
and dislikes on their kids, at the child's expense. 
They should realize that their child is not an exten- 
sion of themselves, but an individual with his or 
her own interests. 

Robert Tucker 

3328 Eagle Court 

Great Falls, MT 59404 



... I would like to know if you stick mailing labels 
on the covers of your subscription issues and back 
issues. I love your magazine and I'm thinking of 
subscribing, but some magazines stick labels on 
the covers and both damage the magazines and 
decrease their value. 

Eddy Chang 

RD 1 Box 132 

Stockholm, NJ 07460 

A II subscriptions are mailed in a protective bro wn 
paper wraparound and all back issues are mailed 
in protective envelopes. 


. . .Thank you for the article in STARLOG #19 
about the CE3K Mothership— the photographs 
were excellent. I would Jike to see an article on the 
ships from Battlestar Galactica, how they were 
made and filmed. I would also like to know what 
John Dykstra is going to do for his next movie. 

Sam Hendry 

Santa Meria, CA 

John Dykstra is currently working on Altered 
States (script by Paddy Cheyfsky). It is a little ear- 
ly in the production schedule for STARLOG to go 
into details, but as the production progresses, 
STARLOG will keep you informed. Construction 
shots of the Galactica are included in STARLOG's 
latest photo guidebook, Special Effects, Vol. 1. 
You may order this book direct from the 
publishers; see our ad on page 99. 


. . . Thank you for the article on Lost in Space. As 
president of the Lost in Space fan club (the only 
official one — endorsed by June Lockhart, 
Jonathan Harris and others), I compliment you 
on your approach. However, there were two er- 
rors in the article. You mention that John May 
was the voice of the robot. No! Bob May was in- 
side the robot and CBS announcer Dick Tufeld 
supplied the voice for every episode. I have 
spoken to both of them to confirm this. Second, 
you listed "The Reluctant Stowaway" as taking 
place in 1977. No! The Robinson family left 
Earth in 1997. 

David Krinsky 

7522 Avenue T 

Brooklyn, NY 11234 

. . .Although Barney Slater and Robert Hamner 
wrote many fine episodes for Lost in Space, they 

did not pen ' 'The Anti-Matter Man.' ' It was K.C. 

John J. Kafalides 

Canton, OH 


... At present, a West Wales company— Macron 
Engineering— is constructing a full-sized Millen- 
nium Falcon for the Star Wars sequel, The Em- 
pire Strikes Back. I have seen it myself and it is 
big. The mock-up space-craft will have hydraulic 
landing legs and is being constructed of plywood 
over a steel frame. According to the production 
company, the use of the mock-up in place of 
models will aid filming and add to realism. When 
the Falcon takes off, the ship will actually be lifted 
off the ground (though only be a few feet) and the 
finished film will then cut to shots of the model 

Aldo G. Rabaiotti 

72, Dinas, Baglan, Port Talbot 

West Glamorgan 

Great Britain SA12 8AF 


... I would like to know what happened to the 
' 'chariot" (from Lost in Space) . All I know is that 
it was auctioned off in 1 97 1 or '72. Perhaps one of 
your readers knows where it is today. 

Alan David Laska 

803 Fontana Avenue 

Richardson, TX 75080 


. . . Can I still order The Moonbase Alpha 
Technical Notebook! If so, how much will it cost 
me? And how much postage and handling? Also, 
what address would I send it to? 

Kreg Hines 

12013 Hidden Valley Rim Road 

Boise, ID 83705 

77ie answer to your first question is a resounding 
yes! As for the details, let your fingers do the 
walking to our ad on page 80. 


... I saw your gory pictures on Night of the Liv- 
ing Dead and the article and thought they were 
awful. Please don't put those bloody pictures in 
your mag, they are very disturbing and we readers 
don't need them. Please make your magazine safe 
for all readers! 

Norman Hahn 

Philadelphia, PA * 

Latest From 




Planning a "roller coaster" experience? You 
cannot be without this beautiful book, which 
gives the facts and statistics on more than 100 
roller coasters. . .the parks where they are 
located. . .maps and photos, etc. A com- 
plete history of roller coasters is offered, plus a 
bonus of the 25 most thrilling rides in the 
country are listed. Get ready for the summer 
of 1979— the beginning of "ROLLER 
COASTER FEVER" in America. $6.95. 




32 SF Photos! 

The story of the fabulous 50's; what made 
that decade exciting and memorable today; 
its people and events. Relive the fads and fan- 
cies, the giants of the screen, television cele- 
brities, Hollywood gossip, "Teenage Idols," 
Science-Fiction happenings, and the birth of 
Rock 'N Roll. This special publication covers 
all this and everything else that glorified that 
decade known as the FAB 50's. $1.95 


475 Park Avenue South 
New York, NY 10016 

Please send me— 


$6.95 + $1.40 for postage and 

FAB 50's, $1.95 + $1.40 for 

postage and handling. 

Total amount enclosed $ 




.ONLY U.S., Australian and New Zealand funds accepted. 

STARLOG/ July 1979 11 




In November of 1978, Gail M. Selinger 
and Harrison M. Rose opened Dream 
Masters, a gallery of science-fiction and fan- 
tasy art, on Wilshire Boulevard in Los 
Angeles. In the few months since that open- 
ing, the two have become the country's most 
successful dealers in top-quality original SF 
art. Their current show, SF Spacecraft & 

Weaponry, will be held through July 22. Also 
on display will be many of the models con- 
structed by Brick Price for the Project: UFO 
television series, as featured in starlog#20. 
This is one of the first theme shows to be pre- 
sented at Dream Masters. The months ahead 
will bring shows featuring androids and 
robots, alien landscapes and barbarians .* 

Gublor & 

Predator from 

Riguel 5: 

Sculpture by 

Michael Jones. 

Top: Rose & 

Selinger in 

their gallery. 

A vision of 
by veteran 
artist Frank 
Kelly Freas: 
Some Will 


lodel hobbyist Jim Jessup received offi- 
Icial recognition for his work recently 
when it was chosen for display at the San Diego 
Science Center in California. Jessup has been 
modeling since the age of 6, but didn't start de- 
signing his own until he was inspired by the 
film 2001: A Space Odyssey to start extrapol- 
ating from current NASA projects. His 
brother, an aerospace engineer at McDonnel 
Douglas, was instrumental informing Jessup's 
interest in the space program. The models 
shown here demonstrate the likely evolution of 
heavy-lift launch vehicles . 

From the Saturn-5, left, to a highly advanced 
launch vehicle featuring a payload stacked 
above the fuel tank and a first stage rocket 
with runway landing capability, at far right. 

Merriman's Martian Marauder. 

Professional modeler David Merriman of 
D&E Models in Atlantic Beach, Florida, has 
an equally scientific approach to a more fanci- 
ful subject— the Martian, war machine from 
H.G. Wells' War of the Worlds. Unlike the 
manta rays in George Pal's film version, the 
model is based on the original Wells descrip- 
tion of a heat-ray bearing tripod. Fully arti- 
culated for stop-motion animation, the model 
will appear in a 30-second commercial pro- 
moting a local planetarium. -ft 

12 STARLOG//«/y 1979 



arner Brothers has confimed reports 
that Christopher Reeve and pro- 
ducers Alexander and Ilya Salkind have 
reached agreement on the Superman sequel, 
now planned to re-start shooting this sum- 
mer, tentatively on July 30. Reports say that 
Reeve's renegotiated contract calls for a 
$500,000 payment for the sequel (an amount 
nearly equal to Reeve's total income from 
the first film) and the payment of over $1 
million for Reeve's work in a third Super- 
man adventure. 

One of Reeve's main concerns in the 
negotiations was that the original concept of 
the sequel, begun under the direction of 
Richard Donner, would be carried through, 
even though Donner is no longer par- 
ticipating in the production. 

Donner's replacement is still a matter of 
some question— both Richard Lester, direc- 
tor of The Three Musketeers, and Guy 
Hamilton, director of several films in the 
James Bond series, have been mentioned as 

Donning his cape, without Donner. 

The late- July start date for Superman II 
allows Reeve plenty of time to complete act- 
ing chores in his second starring role. 
Somewhere in Time, which began shooting 
in May, stars Reeve as a time traveler in love 
and was scripted by Richard Matheson, 
author of / Am Legend and The Incredible 
Shrinking Man. -ft 


Spaceships, aliens and 

imaginative trips Mf g 
through the universe! hJ^- 

The first movie from 

the world's most tffe 
popular science-fiction 


475 Park Avenue South, New York, NY 10016(212) 689-2830 

(A division of STARLOG magazine) Contact: Kerry O'Quinn 


oviegoers in Los Angeles and New 
York have been treated to a 3-D 
revival, presenting a few of the 50 
3-D films available from the past 25 years. 
Both the Tiffany Theater in Los Angeles and 
the Thalia in New-York have screened 3-D 
festivals with great success. Such films as It 
Came from Outer Space, House of Wax, The 
Creature from the Black Lagoon, Mad Magi- 
cian and Kiss Me Kate have been shown in the 
original two-projector, Polaroid process. 
Great care has been taken to insure that the 
two projectors remain in sync— a common 
cause for complaint and headaches in the early 
50s. Thalia manager Richard Schwartz admits 
that screening the films is a lot of trouble, but 
the 3-D screenings have proved so popular that 
he went to the trouble to assemble left and right 
prints of R.K.O.'s Second Chance from the 
scattered reels in the R.K.O. vaults. 

Bradbury's 3-D classic returns. 

Starlog featured the history of 3-D 
technology, including a film guide, in issues #3 
and #4. Still photography in 3-D is coming 
back with the Nimslo camera to be marketed in 
Europe this year. The camera will produce 3-D 
in the lenticular process similar to the 3-D post - 
cards that are commonly available. In the 
United States, 3-D buffs should be aware of a 
very informative newsletter published by 3-D 
and stereo photography buffs in California. 
The Reel 3-D News is published 1 1 times a 
year. A subscription costs $12 and is available 
from Reel 3-D Enterprises, P.O. Box 35, 
Duarte, CA 91010. * 

STARLOG/7u/y7P7J> 13 


Robert L. Asprin 

The Tzen are the mightiest warriors 
of the galaxy, but with the outbreak 
of the Bug Wars they may have 
met their match. Here is the great- 
est galactic battle you can imagine, 
in a deadly war where defeat spells 
certain extinction. $8.95 


Orson Scott Card 

A daring, imaginative story of an 
uprising on a planet of exiles! For 
3,000 years the Families have been 
ruled by the prisonkeepers of the 
hated Republic — until a radical 
regenerative outcast devises an 
ingenious plan for revenge. $10.00 


Thomas M. Disch 

Journey to censorship, famine and 
decadence in the 21 st century, 
where man's only chance for 
freedom lies in separating his spirit 
from his body — by singing! $10.95 


George A. Romero and 
Susanna Sparrow 

When there's no more room in hell, 
the dead will walk the earth. The 
ghouls from Night of the Living 
Dead walk again, hungering for 
human flesh and consuming 
everyone they touch with the 
endless horror of living death. "An 
engrossing alamoesque tale of 
survival:' — Future $7.95 
Now a major motion picture. 

Travel to undreamed 
of worlds... if 
you dare! 


S-7 79 

At your bookstore or direct from: 

St. Martin's Press 

175 Fifth Ave.. New York 10010 

Please send me: 

copy(ies) of THE BUG WARS <S $8.95 ea. 

copy(ies) of ON WINGS OF SONG @ $10.95 ea. 

copy(ies) of A PLANET CALLED TREASON <® $10.00 ea. 

__._copy(ies) of DAWN OF THE DEAD @ $7.95 ea. 
Please include 75( pet book to cover postage and handling 
(check or money order included). 



The introduction of the Space Art Club to 
the readers of starlog/ future life 
marked a historic event. Never before was 
such an offering available; a series of 
limited-edition space art prints at a price 
most everyone could afford. Charter 
members have written expounding their 
satisfaction, but the original deadline 
prevented would-be members from joining 
at a savings price. Now, we're pleased to an- 
nounce that you, too, can have an oppor- 
tunity to own and enjoy fantastic space art 
at bargain rates. 

? 2k -, IV- . 4 

The Club features exclusive, limited-edi- 
tion space art painted by the masters of the 
field: Bob McCall, Vincent DiFate, Ron 
Miller, Adolf Schaller, John Berkey, Ludek 
Pesek, Don Davis, plus one mystery artist 
prominent in the space art field. Virtually 
the Hall of Fame in space art, this incredible 
group represents a staggering collection of 
artistic techniques and scientific imagina- 
tion. Each print was specially commis- 
sioned by starlog/future life and pro- 
duced on high-quality, textured papa; 
measuring approximately 18" x 24" in size, 
ready for framing! 

For your convenience, there are different I 
ways in which you can order this exclusivej 
space art. Choose from one of these oppor- 
tunities: The Complete Collection— the en- 
tire portfolio consists of all eight space ad 
reproductions for only $45.00; Mini-7 
A— comprises print #'s 1-4 representing 1 
artwork of McCall, Miller, DiFate a.-.: 
Pesek for only $25.00; Mini-Series B- 
cludes print #'s 5-8, featuring the works i 
Berkey, Schaller, Davis, plus one my 
space art print for only $25.00; IndividuA 
Orders— for those desiring prints on an ia-j 
dividual basis, simply indicate the onefc 
you want on the order form. 


mail to: 


475 Park Avenue South 

New York, NY 10016 

Cash, check or money order payable to' 


Total enclosed: $ 

Send me the entire MINI- 
SERIES A, print #'s 1-4, for 
Only $25.00, includes 
postage and packing. 
Send me the entire MINI- 
SERIES B, print #'s 5-8 for 
Only $25.00, includes 
postage and packing. 
C. Send me the Complete Col- 
lection, all 8 prints, for only 
$45.00, includes postage 
and packing. (Upon receipt 
of order, initial shipment of 
print #'s 1-4 will be mailed. 
Approximately one month 
later, remaining #'s 5-8 wi 
arrive to complete the port- 

I've listed below the #'s of 
the specific print(s) I'd like to 
order individually for $10.00 
each (plus $2.00 each post- 
age and packing). 






If you do not want to cut out this coupon, 
send your order on separate paper. 




The cooperation of the Bally Manufactur- 
ing Corporation and Atari, Inc. allows 
STARLOG to give readers an early look at their 
newest pinball machines. 

Bally's Star Trek, though utilizing the well- 
recognized logo from the television show 
rather than the movie art, features the rede- 
signed Enterprise on the blackglass. New 
crewmembers Ilia (to be played by Persis 
Khambatta) and Commander Willard Deck- 

Above: Expiofe new worlds via Bally's Star 
Trek. Below: Or bend steel balls with your 
bare flippers with Atari's Superman. 

er (Stephen Collins) are featured on the play 
area itself. All crew members carry updated 
tricorders and phasers. Features of play in- 
clude the opportunity to jump to "hyper- 
space" or enter warp via the "Warp Speed 
Lane" in the course of the player's five-ball 
mission to explore new worlds. 

Atari's Superman draws its entire visual in- 
spiration from the comic book original, 
though the accent on Luthor and Lois Lane 
ties in nicely with the film. The skyline of 
Metropolis dominates the center of the 
playfield, and extra points are obtained by 
sending the ball up alleys marked "The For- 
tress of Solitude" and "Luthor's Lair." * 


Filmation Assoc, creators of Jason of 
Star Command, Space Academy and 
Ark II among other live-action and 
animated series, has announced that its live- 
action series, Ghost Busters, will be 
available for syndication this fall. The series, 
which stars Larry Storch, Bob Burns and 
Forrest Tucker as Spenser, Tracy and Kong, 
respectively, concerns the madcap adven- 
tures of a trio of ghost hunters. Bob Burns, 
who you will remember from starlog #18's 
SFX chapter on "Hollywood Halloween," 
plays Tracy the Gorilla. Burns has also made 
a couple of MacDonald' s commercials and a 
spot with Bob Hope in a take-off on the 
Road to ... pictures, all as Tracy, who 
is rapidly becoming Hollywood's most 
lovable ape. * 


laren Jensen, Battlestar Galactica's 
I Athena, recently completed her role in 
the Dino de Laurentiis film Shark Boy of 
Bora Bora, which was shot this spring on 
location in the South Pacific. The film is 
based on the book Ti-Koio and his Shark by 
Clement Richer. * 

Sporting a new propeller beanie, Tracy 
waves hello to his fans. 

16 STARLOG/ July 1979 


Bugs' newest feature will include an encounter with the diminuitive 
alien featured in buck Dodgers of the 25th Century. 

It's Bugs Bunny's 40th birthday and, to 
celebrate, Warner Brothers is releasing a 
feature-length animated film tracing the 
history of the irrepressible rabbit from 1938 
to 1962, the year that Warner's theatrical 
animation division closed shop. 

Bugs' birthday celebration is equally a 
tribute to veteran animator Chuck Jones, 
who joined Warner's cartoon unit in 1938. 
The material compiled for the feature, in- 
cluding five full-length cartoons and "ex- 
cerpts from 24 more, is all culled from the 
catalog of over 250 cartoons directed by 
Jones during his lengthy stay at the studio. 
Titled The Great American Chase, the 
film will prominently feature the music of 
Carl Stalling and will pay special tribute to 
Warner's other animation greats, including 
Tex Avery, Friz Freleng and Bob Mckimson. 
Jones, in addition to assembling the vintage 
material, which he co-wrote with Mike 
Maltese, has produced, directed and written 
20 minutes of new animation for the film in 
which Bugs recalls his filmic career from his 
carrot palace in Beverly Hills, and a lengthy 
outer space sequence. •& 


Twenty-five years ago, 10-year-old 
Ricky Walker won a spaceship. 
The ship, a 35-foot steel construction, 
roomy enough to sleep eight and equipped 
with a phone, kitchen area and its own 
flatbed trailer and tractor, was offered by 
Ralston-Purina as first prize in their Space 
Patrol "Name the Planet" contest. Walker 
won it by re-naming Planet X, home of the 
evil Prince Baccarratti, archvillian of the 
popular science-fiction series. The winning 
entry, Caesaria, was never used in the 

On January 14, 1954, the ship was deli- 
vered to the Walker home on Wagner 
Street in Washington, Illinois. At 3:15 
p.m. there was a grand celebration featur- 
ing the high school band, several 
Washington celebrities and a space pageant 
produced by a grade school. The mayor 
proclaimed January 16 as Ricky Walker 

Among the thousands of losing entrants 
was Ward Dean, now a doctor in San Fran- 

cisco and an active member of a local Space 
Patrol fan club. After nearly a quarter- 
century of heartbreak over losing the con- 
test, Dr. Ward recently decided to do 
something about it, and began a search for 
Ricky Walker and his ship. After a fruitless 
search through many Illinois phone books, 
Ward appealed to a local Washington 
newspaper, the Tazewell Reporter, to aid in 
his search. A week after the paper's first 
story appeared, Walker was located in 
Sault Sainte Marie, and no longer in 
possession of the spaceship. Two of three 
years after Walker won the ship, his 
parents sold it to a traveling carnival outfit 
for a mere $1 ,000. It is suspected that it was 
later sold to a children's amusement park, 
though its present whereabouts (if not sold 
for scrap) are unknown. "After a while it 
became a nuisance," says Mrs. Walker, 
Ricky's mother. 

Ricky, for his part, is indifferent to the 
fate of the ship, but Dr. Ward is still anx- 
ious to locate the craft. "He's just never 
forgotten about it," says Dean's mother, 
"He's very serious about getting the 
rocketship." # 


From Jason & the Argonauts. 

The Space 
dream — its 
are still 

ay Harryhausen, the 'most accom- 
.plished living stop-morion animator, 
has joined producer/partner Charles Schneer 
in a move to MGM studios for their next pic- 
ture. The picture, titled Clash of the Titans, is 
budgeted at $15 million (with another $5 
million earmarked for distribution and pro- 
motion). MGM picked up the option on the 
picture when Harryhausen's longtime home 
studio, Columbia Pictures, showed reluctance 
to go ahead with the project. Harryhausen, 
who has masterminded such eye-bogglers as 20 
Million Miles to Earth and Jason and the 
Argonauts, has never before had a budget in 
excess of $3 million to work with — a source of 
constant irritation to the filmmaker. 

Expected to utilize the master's Dynarama 
process to the fullest, Clash of the Titans will 
star Laurence Olivier as Zeus, Maggie Smith as 
Thetis and Claire Bloom as Hera. A summer 
1981 release is planned. However, Har- 
ryhausen's commitment to Sinbad on Mars, 
for Columbia, may cause some problems 
—that one's scheduled for late '81 . ■£ 

STARLOG/./u/v 1Q7Q 


The grandest of the comicons, Phil Sell- 
ing's Twelfth Annual Comic Art Conven- 
tion, will convene this year at the site of its ear- 
liest glories, the newly refurbished Statler 
Hilton Hotel, this June 30 and July 1. Since 
New York has always been the comic book 
capital of the world, Seuling's cons are a tradi- 
tional gathering place for the top talents in the 

field, whether as honored guests or as informal 
visitors. This year will be no exception— guests 
of honor include DC's resident Batman artist 
Marshall Robers, Superman artist Curt Swan 
and Marvel's top all-around talent and Conan 
artist John Buscema. As always, the con will 
feature star-studded guest panels, this year 
highlighted by a discussion of the comic book 

influence in other media. 

Those who can't make the New York con, 
or find that two days just aren't enough, will 
find many of the same dealers and guests, plus 
some surprises, at Seuling's Philadelphia 
Comic Art Convention, July 14 and 15. 
Admission to the cons is $3 per day ($1 .50 for 
those under 12). * 


The multi-faceted 
talent of con guest 
John Buscema is 
in The Art of John 
Buscema, Vol. I, 
available for $3 plus 
50<p postage from 
Sal Q Productions 
P.O. Box 7, Dyker 
Heights Station, 
NY 11 228. 


; — J: 

< f 


4" :.* 

Apollo's 1 1 's Earthrise and Skylab 4's Cyclone 
ate part of NASA's contribution to Our Beau- 
tiful Earth, an exhibition of aerial photography 
at Washington's Smithsonian Institution, 
through spring, 1981. 

18 STARLOG/ July 1979 


Starlog columnist David Gerrold has 
been awarded the "Skylark," the E.E. 
'Doc" Smith memorial award, given by the 
New England Science Fiction Association. 
The award honors the late author of the 
Skylark and the Lensman science-fiction 
series, and is given to the person who, in the 
opinion of the association, has contributed 
significantly to SF, both through work in the 
field and by exemplifying the qualities which 
made Doc so well-loved by all who knew him. 
Announced at Boskone 16, the NESFA 
award puts Gerrold in the company of such 
past illustrious winners as Frederick Pohl, 
Isaac Asimov, John W. Campbell, Larry 
Niven, Gordon Dickson, Anne McCaffrey 
and Hal Clement. *■ 


nt N 


~ ML t, ■ - *■ 


From tribbles to trophies. 

Tuttle cops makeup honors while presenter 
Veronica Cartwright looks on. 

The Academy of Science Fiction, Fan- 
tasy and Horror Films recently pre- 
sented their sixth annual awards, broadcast 
nationally (via syndication) in late May. In 
case you missed it, here's the list of the major 

Best Science-Fiction Film: Superman. 
Best Fantasy Film: Heaven Can Wait. 
Best Horror Film: The Wicker Man. 
Best Actor: Warren Beatty, Heaven Can 

Best Actress: Margot Kidder, Superman. 
Best Supporting Actor: Burgess Meredith, 

Best Supporting Actress: Dyan Cannon, 

Heaven Can Wait 
Best Director: Philip Kaufman, Invasion 

of the Body Snatchers. 
Best Writing: (tied) Elaine May and Warren 

Beatty, Heaven Can Wait, Anthony 

Shaffer, The Wicker Man. 
Best Music: John Williams, Superman. 
Best Special Effects: Colin ChUvers, 

Best Costumes: Theoni V. Aldredge, Eyes 

of Laura Mars. 
Best Make Up: William Tuttle and Rick 

Baker, The Fury. 
Special Life Achievement Award: 

Christopher Lee. * 


Ten years ago this July, science-fiction 
dreams became science fact: the first 
Earthlings landed on the Moon. In the next 
issue of future life, NASA's Jesco von 
Puttkamer recalls the years of phenomenal 
teamwork that made the Moon landing pos- 
sible. As a NASA engineer working on the 
Saturn V rockets, Puttkamer was one of 
thousands of dedicated people who put Neil 
Armstrong and all those who followed on the 
surface of the Moon. A decade later, he takes 
a thoughtful look back— and ahead to the 

Remember those wild and crazy 60s? 

future life #12 will also feature a photo- 
packed story on the upcoming James Bond 
epic, Moonraker, including interviews with 
producer Cubby Broccoli and special-effects 
wizard Derek Meddings; an interview with 
science-fiction writer Robert Silverberg; a 
look at the future of education by Alvin 
{Future Shock) Toffler; scientific specu- 
lations on the future of the world climate; a 
vision of the ultimate electronic rock concert 
of the future as imagined by young synthe- 
sizer ace Larry Fast; thoughts on the impli- 
cations of cryonics by Robert Anton Wilson; 
plus spectacular space art, movie previews, 
book reviews and much more. Don't miss 
future life #12, on sale June 26. -£ 


The contest deadline for starlog/future 
life's Getaway Special Contest has been 
extended one year — to July 20, 1980. Due to 
the somewhat complex nature of the 
Getaway Special — after all, this is a first for 
NASA — many contestants have proposed 
ideas that simply will not conform to NASA 
guidelines and restrictions. (For instance, no 
matfer how hard you try, you just can't fit a 
human being into the Getaway Special con- 
tainer. . .) So, we're trying to remedy the 
situation. We've enlisted the expertise of the 
Forum for the Advancement of Students in 
Science and Technology. FASST has 
developed an informative, understandable 
"Getaway Special Starter Kit" which will be 
invaluable to anyone interested in entering 

our Getaway Special Contest. It includes: 1) a 
poster outlining the contest and illustrating 
how it works; 2) a bibliography of helpful ar- 
ticles and publications on what experiments 
have been done in the space environment and 
how; 3) a resource list of organizations in dif- 
ferent fields of speciality that can offer 

assistance in your research; 4) the most 
thorough explanation to date of exactly what 
NASA will — and won't — allow flown on the 
space shuttle; and 5) an overview of the shut- 
tle and its capabilities. 

The Getaway Special Starter Kit will help 
you plan an experiment proposal within the 
guidelines imposed by NASA — and it will 
also help you learn about the space shuttle 
and the problems and promise of space 
experimentation. Now you have more than a 
year to come up with a winning Getaway 
Special proposal. For your copy of the 
Getaway Special Starter Kit, send $3 to: 
starlog/future life, Getaway Special 
Starter Kit, 475 Park Ave. South, New York, 
N.Y. 10016. * 

STARLOG/7u/y/P79 19 


I The Legendary Vfarld of 


Eight different faerie folk tales 

and adventures of FULL- 
COLOR faerie artwork and a 
giant FULL-COLOR foldout 
faerie poster . The "A" book will 
include such faerie legends as: 
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spiteful witch. 
. —the rakish 
Aiken Drum, a 
fellow who wears his food. 
— the hideous 
Afanc, a water 
dwelling monster. 

r- the beautiful 
Asiai, the girl 
with green hair. 

Send to: STARLOG PRESS, Dept. S24 
475 Park Avenue South 
New York, NT. 10016 

Plpflsp Rpnc\ 


"A" at 81.50 each plus 
postage and handling. 


75c for 





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88 colorful pages of FAMOUS SPACE- 
Packed with brilliant and detailed 
photos, drawings, and exacting text, 
FANTASY provides definitive coverage 
of the fabulous spacecraft of Star 
Wars, the excitement of the Saturn/ 
Apollo project, Star Trek's Enterprise, 
Battlestar Galactica's Viper and 
Raider, NASA's Space Shuttle, and 
more! SF expert George Elrick pro- 
vides a glossary of space terms, and 
for modelers there are detailed "how- 
to" modeling sections for each 
spacecraft. Here's the book space 
buffs and modelers have been waiting 
for. Available at your local bookstore, 
hobby shop, or order direct today! 


Enclosed is $_ 


.copies of 

at $8.50. Include for postage and handling; U.S. 
75«, foreign $1.25. Wisconsin residents add 4 per 
cent sales tax. 



City. State, Zip . 

The Academy of Science Fiction, Fantasy & Horror Films 










The Academy of Science Fiction, Fantasy 
and Horror Films is a non-profit organization 
consisting of dedicated Individuals devoted 
to presenting awards of merit and recogni- 
tion for science fiction films, fantasy films 
and horror films, and to promoting the arts 
and sciences of science fiction, fantasy and 
horror films. 
Actors, actresses, writers, directors, pro- 
ducers, make-up artists, animators, special 
effects people, film critics, film students and 
others interested in and respecting the 
genres of science fiction, fantasy and horror. 






All members have equal voting rights in the 
selection of the annual awards. Nominations 
are made by the Board of Governors and 
ballots are mailed to all members. Members 
are invited to attend the annual awards 
ceremony held each year in Hollywood. 


You can, if you have a serious interest in 
and devotion to this type of motion picture. 
Dues contributions are $25.00 a year for 
an adult and $15.00 a year for a full time 
student. Please make your check payable to 

The Academy of Science Fiction, 
Farttaty and Horror Fllma and mail with 
your application to 334 Woat 54th 
Street, Lorn Angela; California 90037. 







20 STARLOG/7u/y/979 



/wtor mm 

People News & 


This issue is a special one, so I'm going 
to do a special column. I had thought 
originally that I might say some nice 
things about Howard Zimmerman and Kerry 
O'Quinn and Bob Woods and David 
Houston and David Hutchinson and the rest 
of the gang who put out starlog and 
future life, but then it occurred to me that 
most of you already know what terrific peo- 
ple they are, merely by the fact of reading this 
magazine every month. 

So instead, I'm going to tell you about 
some other people who are equally as nice, 
and who — each in their own way — are also 
doing some terrific things that you might be 
interested in. 

First up: Bob and Mary Drayer. Here are a 
couple of California fans who have begun a 
remarkable recording project. Under the 
name of Hourglass Productions, they have 
begun recording a series of interviews with 
major science-fiction writers: Marion Zim- 
mer Bradley, Theodore Sturgeon, Isaac 
Asimov, Larry Niven, Steve Goldin, 
Kathleen Sky, C.L. Moore, Poul Anderson, 
Katherine Kurtz, Fritz Leiber, Randall Gar- 
rett and quite a few others, including yours 
truly, David Gerrold. 

The interviews that I've listened to are both 
enjoyable and insightful; they're like spend- 
ing an hour with the author chatting about a 
variety of subjects. In fact, what makes this 
project different from most other recording 
projects is that most of the interviews are con- 
ducted by other science-fiction writers. This 
guarantees that the interviewer is familiar 
with the author and his work, and the result is 
a set of interviews that are far more candid 
than might be otherwise expected. Star Trek 
fans will be especially interested in the 
Kathleen Sky interview, for instance. 

The tapes are available for $4.98 each, plus 
50£ for postage. Make checks payable to 
Hourglass Productions, 10292 Westminster 
Ave., Garden Grove, CA 92643. Tell them 
you read about them in starlog. Or if you'd 
just like their latest catalog, send them a large 
self-addressed, stamped envelope. 

If you've never had the chance to attend a 
science-fiction convention to meet' some of 
your favorite authors, this is the next best way 
to spend some time with the authors as peo- 
ple. Be warned though; after you listen to ah 
author talk about his/her writing, you'll want 
to go out and buy all the rest of his/her books 

that you don't have yet. 

Speaking of conventions, there are two I 
would like to call attention to. On October 
13-14, there will be a small science- 
fiction/Stor Trek convention in Hampton, 
Virginia; they've asked me to be their guest of 
honor and I have accepted. Other guests 
scheduled (so far) are Kelly Freas and Jean 
Lorrah. I don't know any other details yet, 
but if you're in the Virginia area and would 
like to attend, send a self-addressed, stamped 
envelope to Sci-Con-1, P.O. Box 6259, 
Newport News, VA 23606. 

Two weeks after that, on October 26-28, 
will be Acadianacon One in Louisiana. What 
makes this convention unique is that the 
toastmaster for the event will be one of the 
publishers of starlog and future life 
himself, Kerry O'Quinn. Guest of honor will 
be (again) David Gerrold. There will also be a 
blood drive, a dealers room, some classic 
movies, an art show and panel discussions. If 
you're located anywhere near the area, this 
promises to be great fun. Send a stamped, 
self-addressed envelope to Acadianacon 
One, c/o Dave Pettyjohn, 815 E. Railroad, 
Broussard, LA 70518. 

I hope that a lot of starlog readers will 
take the opportunity to attend one or the 
other of these conventions; I know I'm going 
to have a good time meeting those of you who 
make it. 

Remember Bjo Trimble, the lady who ac- 
cidentally started Star Trek fandom? (All she 
really wanted to do was send some letters to 
NBC, but as a side effect, a whole lot of Star 
Trek fans discovered a whole lot of other Star 
Trek fans, and the rest was almost inevitable. 
For the details, pick up a copy of The World 
of Star Trek. Oh, and you might also want to 
get a copy of The Star Trek Concordance, 
which Bjo edited.) 

Anyway, Bjo is involved in a new project; 
she is editor of a small magazine called 
Megamart. There are a lot of other fine peo- 
ple involved too, but this is very definitely a 
Bjo-flavored zine. 

Basically, Megamart is an advertising 
newsletter for science-fiction and fantasy 
fans. Anyone who has anything to adver- 
tise — conventions, fanzines, books, records, 
art work, fan clubs, T-shirts, contests, 
photos, anything — can buy space in 
Megamart. Anyone who wants to find out 
about all of these things should subscribe to 
Megamart. Its convention calendar is one of 
the most complete I've seen in a while. There 
are also columns and features and lots of art 
work by some very talented artists. 

Again, like all of the above projects, this is 
organized by science-fiction fans for science- 
fiction fans, so it is specifically aimed at your 

interests, and I recommend very highly that 
you subscribe, or at least send in for one issue. 
It's a handsome zine, and it fills a valuable 
need. Subscriptions by second class mail are 
$3 for four issues; first-class mail subscrip- 
tions are $5 for four issues. Inquiries must be 
accompanied by a stamped, self-addressed 
envelope. The address is Megamart, Box 
1248, Inglewood, CA 90308. 
* * * 

A special thank-you to all of you who have 
been writing in about your blood donorship. 
Keep it up. It's the best way of all to be blood 
brothers in the science-fiction .community. 
(And to those of you who haven't donated 
blood yet, what are you waiting for?) 

Star Wars fan liaison, Craig Miller, has 
passed a note to me from Jane Bay, George 
Lucas' assistant. Ms. Bay quotes George 
Lucas directly: "The use of the word 'parsec' 
by Han Solo in the Cantina scene is definitely 
not a mistake on my part .... This unusual 
use of the word 'parsec' was pointed out to 
me by Alan Dean Foster and several other 
science-fiction writers before I started 
shooting the film. It was also pointed out to 
me by Harrison Ford and Mark Hamill and 
several other actors, and by many members 
of the crew on numerous occasions before the 
scene was actually shot. I have no further 
comment as to why it was there." 

So, if the line was what the director intend- 
ed, then the intention seems to have been to 
demonstrate that Han Solo doesn't always 
know what he's talking about. And that im- 
plies that Chewbacca is not only the navigator 
of the Millennium Falcon, but probably a 
much better — or at least more knowledge- 
able — pilot as well. We'll find out more this 
Christmas when The Empire Strikes Back. 
» * * 

On his yearbook ballot, Mr. David 
Merrimac Jr. of Atlantic Beach, Florida, 
indicated in no uncertain terms that he 
thought starlog magazine would be 
mightily improved if this column, State of 
the Art, were dropped. 

Well, the editors of starlog try to be 
receptive to every idea suggested by the 
readers, and after some back and forth 
discussion, it was decided that this would 
be the last State of the Art column that I 
would write. 

You asked for it, David Merrimac Jr. 
You got it. What will be in this space next 
month ? Find out in 30 days. * 

EDITOR 'S NOTE: Mr. Gerrold has been given a free 
hand to express any ideas, with any attitude, and in any 
language he wishes, and therefore, this column does not 
necessarily represent the editorial views of STARLOG 
magazine nor our philosophy. The content is 
copyrighted ©1979 by David Gerrold. 

STARLOG/ July 1979 21 


If you are a young filmmaker with a 
special interest in science fiction, 
special effects and the limitless magic 
of the cinema. . . 


For several years CINEMAGIC has been one of the most popular and 
most important movie fanzines published, but like all fanzines, it has 
been very limited in distribution. People have heard of it, but most 
young filmmakers have never actually seen a copy. Back issues are 
expensive, rare collectors' items now. It's almost a mythical under- 
ground legend . . . like the lost continent of Atlantis. 

But now that will change. The publishers of STARLOG have joined 
forces with Don Dohler, the originator of CINEMAGIC, in order to 
produce a new, exciting version of the magazine that will enjoy wide 
distribution (only by subscription and in collector shi/ps— no 
newsstands!) and will include photo articles about pros as well as 

CINEMAGIC will feature full-color photos, diagrams and design art 
and will guide readers, step-by-step, through the challenging tech- 
niques of backyard moviemaking. CINEMAGIC is a must for everyone 
who enjoys behind-the-scenes film work and everyone who is aiming 
toward a professional career in any aspect of the movie world. 

Published quarterly (4 times a year) CINEMAGIC is available by 
subscription and in limited local stores only! 

To be certain that you do not miss out on a single data-packed 
issue of CINEMAGIC, we suggest that you send in your subscription 
order TODAY!!! 


* Reviews of new equipment, lenses and optical gadgets for creating 
special effects! 

* Readers' forum— letters and questions exchanging techniques and 
production secrets! 

* Step-by-step illustrated articles detailing methods you can use to 
create visual effects, makeup and sound FX. 

* Learn about exotic film stocks and special lab services beyond the 
corner drugstore. 

* How to produce professional titles that move, change color, melt, 
sparkle, burst into flames, zoom into space ... all for a few bucks! 

* Tired of square screens? Learn about inexpensive lenses and 
devices to make your picture W-I-D-E-S-C-R-E-E-N 

* Breakaway props for realistic fight scenes. 

* Animation on your homemade stand. 

* Build your own robots with electronic light effects. ■ 

* Make your own foam latex animation models, molds and arma- 
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* Glass paintings, matte box effects, split screens. 

* Fantastic sets, spaceship control rooms, backyard landscapes . . . 
without blowing your budget! 

NOT ON NEWSSTANDS! Subscribe Today!! 


Between the pit of Man's fear and the summit 
of his knowledge exists a land populated by 
otherworldly creatures— science-fiction 
aliens, vampires, ghouls, radioactive monsters— be- 
ings beyond description. Their homeland is the realm 
of fantasy, and now, for the first time, comes a major 
magazine totally devoted to the many worlds of the 


formerly FANTASTICA 

A Phantasmagoric Flight Into 
Sheer Imagination 

Here, at last, is a magazine that will explore the outer 
limits of imagination, offering glimpses of both far-out 
science fiction and out-and-out fantasy. Hobbits, horrors 
and hideous invaders from outer space will join forces 
each issue with the real-life artiste who create them to 
bring you the BEST of movie and TV creature features. 
At last . . . ready to premiere! On newsstands June 7! 

Each issue includes — 

* Pages of FULL-COLOR photos!!! 

* Original horrific art!!! 
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* Fright film updates!!! 

* . . . plus MUCH MORE!!! 

Mail to: O'Quinn Studios, DEFT. S24 
475 Park Ave. Soutn 
New York, NY 10016 



□ One Year (6 bi-monthly issues) $9.98 

(U.S. and Canada) 
D One Year Foreign Surface $14.98 

SAMPLE COPY: (Premiere Issue, #1) 

r-j copies, $1.95 each (newsstand price) 
(plus $1.00 FirstClass postage 



D One Year (4 issues) $5.99 

(U.S. and Canada) 
n One Year Foreign Surface $8.99 


n Issue #1 $1.75 (store price) 
(plus 50c 3rd Class postage) 

and handling each) ONLY U.S., Australia and New Zealand fundsaccepted. 

Enclosed: $ ■ 

Send cash, check, or money order drawn to O'Quinn Studios, Inc. 








compiled by william c. fowler 

Note: Entries in the index are taken from 

issues number 1-22. They are listed alphabetically 

by name, production title or feature title 

and are cross-referenced. 

Academy of Science Fiction, 
Fantasy & Horror Films 

#22, p.14 

Academy of Science Fiction, 
Fantasy & Horror Films 

(see) Golden Scroll Awards 

Ackerman, Forrest J. 
#13, pp.48-53 
#18, p.10 

Adams, Ken 

#9, pp.22, 49 

Adams, Stanley 

#3, p.29 

The Adventures of Stella 

Star (movie) 

(see) Starcrash (movie) 

Agutter, Jenny 

(see) Logan's Run (movie) 

Alien (movie) 
#10, p.16 

Alien Encounters (movie) 
#7, p.10 

All My Sins (book) 
#13, p.12 

Adder, Nick 

#7, pp.34-38 

Allegro non Troppo (movie) 
#13, p.10 

Allen, David 

#21, pp.65-70 

Alyn, Kirk 

#20, pp.48-51 

Anderson, Gerry 

#9, pp.30-33 (interview) 
(see also) Space Report 

Anderson, Richard 

#4, pp.1 6-21 (interview) 

Arabian Adventure (movie) 
#19, p.12 

Arkoff, Samuel Z. 

#6, p.8 

Asimov, Isaac 

(see) Faster-than-light travel 

The Astral Factor (movie) 
#2, p.63 

#11, p.15 
#19, pp.48-49 
#21, pp.48-49 

At the Earth's Core (movie) 
#2, p.56 

The Avengers (TV series) 
#16, p.10 

Ayres, David 
#15, pp.72-73 
#12, p.42 

Babbin, Jacqueline 

#23, pp.42-43 

Baker, Rick 

#14, pp.26-27, 74 

Battle for the Planet of the 
Apes (movie) 
#7, pp.48-50 

Battle of the Planets (TV 

#19, p.15 

Battlestar Galactica (TV 


#15, pp.52-53 

#17, pp.30-31 


(see also) Benedict, Dirk 

Greene, Loren 

Hatch, Richard 

Hathaway, Noah 

Jensen, Maren 

Benedict, Dirk 

#18, pp.24, 26-28 

The Big Bus (movie) 
#2, p.54 

The Bionic Woman (TV 


#7, p.10 

#10, p.8 

#14, p.8 

(see also) Anderson, 


Wagner, Lindsay 

Blood City (movie) 
#6, p.10 

Bakshi, Ralph 


#10, pp.57, 62 

Bonestell, Chesley 

#12, pp.64-67 

Bowie, David 

#15, p.26 

The Boys from Brazil (movie) 
#16, p.18 
#18, pp.48-49 

Bradbury, Ray 

#10, p.16 
#14, p.36 

Brave New World (TV movie) 
#17, p.34 
#19, p.13 
#22, pp.42-43 

Brown, Fredric 

Arena (short story) 
#4, pp.34-42, 44-47 

Buck Rogers (movie) 

#9, p.8 

#11, pp.51 -52 

#15, p.9 

#16, pp.42-45 

#17, pp.28-29 


(see also) Gerard, Gil 

Bums, Bob 

#18, pp.50-56 

Capricorn One (movie) 
#13, p.8 
#14, pp.58-61 
#19, pp.24-26 

Cartwright, Veronica 

#22, pp.26-28 (interview) 

Carrie (movie) 
#3, p.12 

The Cars of Apoclypse 

#2, p.63 

Carter, Lynda 

#9, pp.35-38 (interview) 

Chambers, John 


Clones (TV movie) 
#16, p.17 

Coleman, William T. 

#14, pp.52-56 (interview) 

Close Encounters of the 

Third Kind (movie) 

#2, p.63 

#8, p.16 

#9, p.18 

#10, pp.23-25 


#12, pp.40-49, 62-63 

#14, p.10 

#17, pp.66-67 

#18, pp.30-31 

#19, pp.12, 60-67 


#13, pp.62-64 

Comics and science fiction 

#2, pp.49-52 
#3, pp.10-11 
#11, pp.71-73 
#12, pp.72-75 

Computer games 


Conan (movie) 
#18, p.14 

Corman, Roger 

#19, pp.46-49 (interview) 

Crabbe, Buster 

#3, pp.41, 60 

(see also) Flash Gordon, 

1936 (movie serial) 

The Crater Lake Monster 

#9, p.6 

Crocodile (movie) 
#2, p.63 


The Cry of Cthulhu (movie) 

#6, p.13 

#10, p.17 

#14, p.9 


Cuba, Larry 

#12, pp.50-53 (interview) 

Damnation Alley (movie) 
(see) Survival Run (movie) 

Danforth, Jim 
#14, pp.20-25 

Dawber, Pam 

#20, pp.36-39 

Dawn of the Dead (movie) 

del Rey, Lester 

#5, p.14 

Destination Moon (movie) 
#6, pp.18-25, 54, 56 

Demon Seed (movie) 
#2, p.63 

Pam Dawber 

Disneyland Amusement Park 
#9, p.8 

Dixon, Don 

#5, pp.32-28 (interview) 

Dr. Jekyll & Mr. Hyde movies 

#18, pp.44-47 

Dr. Strange (TV movie) 
#17, pp.64-65 

Dolphin Productions 

#12, p.53 

Donner, Richard 

#15, pp.18-19 (interview) 

Doohan, James 

#3, p.29 

Dracula movies 

#18, pp.32-22, 43 

Duck Dodgers and the 
Return of the 24th and a Half 
Century (cartoon) 
#19, p.13 

Duffy, Patrick 

#6, p.16 (interview) 
#9, pp.24-29 

Dyke, Bob 

#11, pp.18, 78 

Eaters of the Dead (novel) 
#6, p.14 

24 STARLOG/./u/y 1979 


Eberhart, Jonathan 

(see) Interplanetary Excur- 
sions, Inc. 

Eisenmann, Ike 

(see) The Fantastic Journey 
(TV series) 

Electric Light Orchestra 

#16, pp. 14-15 

Ellenshaw, P.S. (Harrison) 
#14, pp.62-70 

Ellison, Harlan 


#8, pp. 22-27, 48 

Empire of the Ants (movie) 
#16, p.7 
#6, pp.13-14 

The Empire Strikes Back 

#16, p.7 
#18, pp.20-23 

The End of the World (movie) 
#10, p.14 

The Fantastic Animation 
Festival (movie) 

The Fantastic Invasion of 
the Planet Earth (movie) 
#2, p.63 

The Fantastic Journey (TV 


#6, pp.26-30, 32-34 

episode guide 

#9, pp.59-61 

(see also) Martin, Jared 

Fantastic Voyage (movie) 
#16, pp.34-38 

Fantasy Island (TV series) 
#10, p.16 


#10, pp.18-20 

Filmation Studios 

(see) Space Academy (TV 



Enterprise, Space Shuttle Or- 

#3, p.7 

#7, pp.12-13 

#10, p.8 

ESP (Extra Sensory Percep- 

#15, pp.80-81,64 

EVA (Extra-Vehicular Activi- 

#19, pp.44-45 

Faeries (book) 
#19, pp.68-71 


- Ljidi 

4< * ^%> 

i ^1 : : % 

Fantastic Voyage 

Finlay, Virgil 

#14, pp.28-33 

A Fire in the Sky (movie) 
#16, pp.12,14 

Fireball XL-5 (TV series) 
#9, pp.30-33 

Fisher, Carrie 

#9, pp.18,20 

Fisher, Tom 

#7, p.39 

Flash Gordon (animated TV 



Flash Gordon, 1936 (movie 


#2, pp.46-48 

#3, pp.41 ,60 

Flash Gordon, 1936 (movie 

(episode guide) 
#2, pp.46-48 

Flash Gordon (TV movie) 
#14, p.36 

The Fly (movie) 
#8, pp.18-21 

The Food of the Gods 

#2, pp.53-54 

Forbidden Planet (movie) 

#4, pp.66-67 

#7, pp.60-67 

#15, p.66 


#3, pp.60-61 

Foster, Alan Dean 

#11, p.14 

#16, pp.22-24,74 

Franklin, Carl 

(see) The Fantastic Journey 
(TV series) 

Frazetta, Frank 

#8, p.8 

#17, pp.72-73 

Freas, Frank Kelley 

#7, p.54 

Freeborn, Stuart 

#11, pp.65-66, 69-70 

Fraud, Brian 

#19, pp.68-71 

The Fury (movie) 

Future Cop (TV series) 
#6, p.8 

Futureworld (movie) 
#2, p.6 

Gerard, Gil 

#19, pp.22-25 (interview) 

Gerrold, David 

(see) State of the Art 

Glasser, Albert 

#10, p.63 
#18, p.14 

Goff, Ivan 

#9, pp.40-44 (interview) 

Golden Scroll Awards 

#5, p.14 
#6, p.8 

Gordon, Bert I. 

#16, pp.28-33 

Gouiart, Ron 

(see) Star Hawks (comic 

Greene, Lome 

#22, pp.20-23 

Haldeman, Joe 

#13, p.12 

#17, pp.45-47 (interview) 


Hamill, Mark 

#21, pp.20-23 (inteview) 

Harrison, Gregory 

(see) Logan's Run (TV series) 

Harryhausen, Ray 

#7, p.17 
#20, p.16 

#10, p.53 (interview) 
(see also) Special Ef- 
fects—Model Animation 

Hatch, Richard 

#18, pp.24,29 

Hathaway, Noah 

#22, p.24 

Hays, Kathryn 

#3, p.28 

Heaven Can Wait (movie) 

Heinlein, Robert A. 

#6, pp. 18-25, 54, 56 

Hennesey, Dale 

(see) King Kong, 1976 (movie) 

Interplanetary Excursions, 

#13, pp.46-47,70 

#14, pp.37-39,47: Skies of 


#15, pp.26-29: Mars 

#16, pp.70-71: Mercury 

#17, pp.20-21: Uranus 

#18, pp.58-59,69: Moons 

#19, pp.26-27: Mars 


#20, p.54,64: Venus 
#21, pp.48-49: Asteroids 
#22, pp.38-39: Mars 

The Invaders (TV series) 
#16, pp.46-47 
episode guide 
#16, pp.48-51 

Invaders from Mars (movie) 
#4, pp.10-11 


Herrmann, Bernard 

#1, p.67 (recordings) 

The High Frontier (book) 
#14, p.14 


#18, p.11 

The Hobbit (TV movie) 
#9, p.20 

Houston, David 

(see) Visions 

Hugo Awards. 

#4, p.7 

The Hulk (TV movie) 
#10, p.16 

The Incredible Hulk (TV 

#12, pp.72-75 
#14. p.36 
#17, pp.48-51 

Incredible Melting Man 


#13, p.14 

#14, pp.26-27,74 

The Incredible Shrinking 
Man movie) 

Island of Dr Moreau 

Invasion of the Body Snat- 

chers, 1978 (movie) 

#13, p.71 

#16, pp.26-27,74 

#19, pp.34-36 

Ion Drive Spacecraft 

#20, pp.52-53,74 

The Island of Dr. Moreau 

#4, p.7 
#6, pp.13-14 
#8, p. 12 

The Island of Lost Souls, 

1933 (movie) 

(see) The Island of Dr. 


It's Alive (movie) 
#16, p.18 
#16, p.18 

Maren Jensen 

Jason of Star Command (TV 

#16, p.17 

Jensen, Maren 

#19, pp.18-31 (interview) 

Johnson, Brian 

#7, pp.34-38 
#16, p.7 


#22, p.11 

Kane, Gil 

(see) Star Hawks (comic 

Kelley, DeForest 

#3, p.32 

King Kong, 1933 (movie) 
#1, pp. 16-1 9 
#8, p.54 
music from 
#7, p.8 

King Kong, 1976 (movie) 



#5, p.9 

#8, p.6 


#5, p.33 

Kingdom of the Spiders 


Kiss Meets the Phantom of 
the Park 

#18, p.12 

Koenig, Walter 

#3, p.36 

Kowal, Charles 

#13, pp.46-47,70 

■^fc j_STA8WARS j 

Laserblast (movie) 
#12, p.22 

The Last Wave (movie) 
#16, p.13 

The Late Great Planet Earth 

#12, p.10 

Lee, Christopher 

#7, pp.10,17 
#10, p.14 

Lee, Alan 

#19, pp.68-71 

Logan's Run (movie) 


#2, pp.18-21 

Logan's Run (TV series) 

#6, p.15 

#7, p.9 

#8, p.14 

#10, p.14 


#12, p.18 

#13, p.35 



episode guide 
#13, pp.36-38 
(see also) Goff, Ivan 
Rabinowitz, Mort 
Roberts, Ben 

Lost in Space (TV series) 
#21, pp.34-36 
episode guide 

The Lord of the Rings 

#10, pp.57,62 
#16, p.12 
#19, pp.38-41,74 

Lovecraft, H.P. 

#6, p.13 

#10, p.17 

(see also) The Cry of Cthulhu 

Lowell, Percival 

#3, pp.66, inside back cover 

Lucas, George 

#2, p.8 

(see also) Star Wars (movie) 

McGoohan, Patrick 

#10, p.10 

McGregor, Don 

#7, p.14 

STARLOG/ July 1979 25 

McQuarrie, Ralph 

#17, pp.36-41,70 

Magic Lantern 


#9, pp.62-67 

Maitz, Don 
#22, pp.34-36 

Majors, Lee 

#3, pp.56-59 

Malone, Bill 

#7, pp.17,60-67 

The Man from Atlantis (TV 

#6, p.16 
#7, p.39 
#12, p.18 

Man Plus (novel) 

Man from Atlantis 

The Man Who Fell to Earth 

#2, p.6 

Mandrake the Magician (TV 

#17, p.33 

The Manitou (movie) 
#13, pp.18-19,70 


Olympus Mons 

#19, pp.26-27 

Valles Marineris 

#15, pp.26-29 

The Martian Chronicles (TV 


#14, p.36 

The Martian Chronicles 

#10, p.16 

Martin, Jared (interview) 
#9, pp.55-58 

(see also) The Fantastic 
Journey (TV series) 


#16, p.70-74 

Merril, Elizabeth 

#6, p.16 

Meteor (movie) 

26 SJARLOC/July 1979 


#14, p.10 

Micronauts (movie) 
#2, p.63 

Miller, Ian 

#6, p.14 

Miniatures in Special Effects 

(see) Special Ef- 

Model Animation 

(see) Special Effects— Model 


#18, pp.58-59,69 

Moonraker (movie) 
#22, pp.18-19 

Mork and Mindy (TV series) 
#17, p.44 
#20, pp.36-39 

The Mouse and His Child 

#14, p.12 

New Adventures of Spider- 
Man (TV series) 
#12, pp.72-75 
#14, p.36 
#17, pp.48-51 

The New Adventures of 

Wonder Woman (TV series) 

#10, p.10 

#17, pp.48-51 

(see also) Carter, Lynda 

Nichols, Michelle 
#3, pp.25-26 
#7, p.16 

Nimoy, Leonard 

#1,pp.49-51 (interview) 

#2, p.53 

#3, pp.6,8,27-28 

Nova (TV series) 
#17, p.29 


The Muppet Show (TV series) 

#10, p.10 

The Museum of Holography 

#7, p.9 

The National Air and Space 





National Association of 

#20, pp.59-63 

Nebula Awards, 1977 

#8, p.6 

Pioneer 12 

#7, pp.70-71 

Pioneer— Venus II (probes) 

Piranha (movie) 
#2, p.6 

Pohl, Frederick 

#13, p.16 

Prescott, Norm 

(see) Space Academy (TV 


Oliver, Susan 

#3, p.29 

Omen II (movie) 

O'Neill, Gerard 

#14, p.14 

Orphan Star (movie) 
#11, p.14 


#15, p.16 

The Outer Limits (TV series) 
#4, pp.54-56 
episode guide 
#4, pp.55 

The Overlords (movie) 
#21, p.14 

Pal, George 

#6, p.8 

#10, pp.45-51 

#11, p.16 

(see also) Destination Moon 


People that Time Forgot 

#6, p.7 

Phoenix 5 (TV series) 
#9, p.20 

P/gs in Space (TV series) 
(see) The Muppet Show (TV 


Prey (movie) 
#10, p.16 

Price, Brick 

#20, pp.66-71 

The Prisoner (TV series) 
#10, p.10 

episode guide 

Project SETI 

#5, pp.66, inside back cover 

Project: UFO (TV series) 
#13, p.12 
#14, pp.52-56 
#17, p.35 

Prowse, David 
#11, p.20 

#13, pp.22-25,44-45 (inter- 

Quark (TV series) 
#7, p.16 
#9, p.49 
#11, p.31 

Rabinowitz, Mort 



Reeve, Christopher 

#6, p.13 

Reichelt, Anthony 
Quasar Industries 
#11, p.10 

Requiem for a Planet (TV 

#9, p.18 

Return from Witch Mountain 

#9, p.49 
#11, p.16 

The Return of Captain Nemo 

(TV series) 
#13, pp.27-28 

The Red River (TV program) 
#16, pp.52-55 

Robby the Robot 

#7, pp.60-67 
#12, p.71 

Roberts, Ben 

#9, pp.40-44 (interview) 

Robinson Crusoe on Mars 

#2, pp.66-67 

Robby the Robot 


#4, pp.66-67 
#11, p.10 

#14, p.18 

(see also) Robby the Robot 

Rocketship X-M (movie) 


#7, pp.54-59 

Rock 'n' Roll 

#10, pp.58-61,71 

Roddenberry, Gene 

#2, pp.1 0-1 2,56 

#3, pp.1 2,40,60 

#6, p.12 

#12, pp.24-29 

#17, pp.42-43 (interview) 

Romero, George 

#21, pp.45-47 (interview) 

Roy, Tom 

#11, pp.18,78 


#13, p.8 

Sackett, Susan 

(see) Star Trek Report 

Scheimer, Lou %Sg 

(see) Space Academy (TV 

Schell, Catherine 

#3, p.40 

Science fiction development 

#12, pp.76-77 
#13, pp.76-77 
#14, pp.76-77 

Science fiction and the 

#15, pp.60-63 





Science fiction address 
motion pictures 

#6, pp.35-42 

Science fiction address 
guide— television 

#5, pp.29-31 ,46,63 

Science fiction movies in 3-D 

#4, pp.24-28 

Science fiction movies made 
for TV 


#3, pp.18-21 


#3, pp.22-23 

Science fiction movie music 

#2, pp.57-59,65 

Science fiction on television 

#8, pp.46-47 

Science fiction on television, 

#9, pp.52-54,78 

Science Fiction Writers of 

(see) Nebula Awards 


Scott, Allan 

#7, pp.32-33,52 (interview) 

Sedleau Productions 

#13, pp.40-43 

Sellstrom, Brent 
#2, p.6 

Serling, Rod 
#15, pp.34-51 

The Shape of Things to 
Come (movie) 
#22, pp.52-53 

Shatner, William 

#1, pp.44-47 (interview) 

#3, p.34 

#5, p.8 

#9, pp.46-48 (interview) 


#13, p.13 

S//enf Running (movie) 
#4, pp.66-67 

Sinbad and the Eye of the 
Tiger (movie) 
#7, pp.8,16 

The Six Million Dollar Man 

(TV series) 

#7, p.10 

(see also) Anderson, Richard 

Majors, Lee 

Skies of planets 

#14, pp.37-39,47 


#14, pp.6-7 

Skywatch (movie) 
#10, p.16 

Smight, Jack 

(see) Survival Run (movie) 

Smith, Dick 

#12, pp.57-60,62 

Smithsonian Institution, Air 
and Space Museum 

(see) The National Air and 
space Museum 

Solar eclipse 

#6, pp.74-75 
#7, p.16 

Solar power 

#16, pp.67-69 

Solaris (Russian film) 
#3, p.61 

Space Academy (TV series) 
#10, pp.26-30 

Space Cruiser Yamato 

#13, p.8 

Space model kits 


Space modeling 

#20, pp.59-63 

./ Am 



Space: 1999 

(TV series) 
#2, pp.32-36,41 
#3, p.40 
#6, p.57 
#8, p.8 

#10, pp.34,43 
episode guide 
#2, pp.37-40 
#3, pp.50-54 
#5, pp.57-59 
special effects 
#7, pp.34-38 
#14, pp.40-41 

Space Maidens (TV series) 
#9, p.10 

Space Probe (movie) 
#13, p.8 

Space Report 

#15, pp.52-53 
#18, pp.62-63 
#19, pp.54-55 
#20, p.31 
#22, pp.40-41 

Space shuttle 

#8, pp.34-39,62 

STARLOG/ July 1979 27 


STARLOG Space Art 

#19, pp.42-43 

Spaceships in movies & 

#3, pp.42-49 

Special Effects— animation 


in home movies 

#10, pp.64-70 



#12, pp.54-62 

matte techniques 

#13, pp.54-61 

#14, pp.62-70 


#6, pp.60-71 

#7, pp.34-38 

#17, pp.56-63 

model animation 

#8, pp.50-51 

sound effects 

#15, pp.66-71 

stop-motion animation 

#14, pp.20-25 


#16, pp.58-65 
#17, pp.52-53 

Spectre (TV movie) 
#3, pp.1 2,40 
#6, p.12 
#8, pp.10,12 

Spider-Man (TV series) 
(see) New Adventures of 
Spider-Man (TV series) 

Spielberg, Steven 

#17, pp.22-26 (interview) 
(see also) Close Encounter 
of the Third Kind (movie) 

28 STARLOG/y«/y 1979 

The Spy Who Loved Me 


special effects 
#8, p.30 

Squirm (movie) 

Stamps, Space 

#16, pp.39141 

Starcrash (movie) 
#16, pp.14,16 
#17, p.18 

Star Hawks (comic strip) 
#10, p.12 

Star P/7ot (movie) 
#16, pp.14,16 

Starship Invasions (movie) 
#12, pp.32-34 

Star Trek (animated version) 
#3, p.32' 
#6, pp.43-47 
episode guide 
#6, pp.48-51 

Star Trek (comic strip) 
#15, p.14 

Star Trek— The Motion Pic- 
ture (movie) 
#2, p.13 
#3, pp.8,12 
#6, pp.58,59 
#7, pp.32-33,52 
#12, p.25 
#13, p.8 
#15, pp.30-31 
#17, pp.42-43 
#17, p.55 
#22, p.10 
#22, pp.29,32-33 

Star Trek (TV series) 

#1, pp.22-26 


#2, pp.14-15 

#3, p.7 

#8, pp.32-33 

#9, p.50 

#10, p.22 


#12, pp.24-31 

#14, pp.42-46 

Bi-Centennial-10 Convention 

#3, pp.24-36,37-39 

censorship of 

#5, pp.42-44 

color photosection 


episode guide 


(see also) Adams, Stanley 

(see also) Doohan, James 

(see also) Hays, Kathryn 

(see also) Kelley, De Forest 

(see also) Koenig, Walter 

(see also) Nichols, Nichelle 

(see also) Oliver, Susan 

(see also) Star-Trek— The 


Picture (movie) 

(see also) Star Trek Report 

(see also) Takei, George 

(see also) Whitney, Grace 


(see also) Nimoy, Leonard 

(see also) Roddenberry, 


(see also) Shatner, William 

Star Trek Report 

#6, pp.58-59 
#7, pp.30-31 
#8, pp.32-33 
#9, p.50 

STARLOG Spaceships 

#10, p.22 
#12, pp.30-31 
#13, p.67 
#14, p.48 
#15, pp.30-31 
#16, pp.20-21 
#17, p.55 
#18, pp.64-65 
#19, pp.56-57 
#20, pp.32-33 
#22, p.29 

Star Wars (movie) 
#2, pp.7-8 

#5, p.40 

#6, p.7 

#7, pp.19~28 

#8, pp.40-41 

#9, pp.6,8,70-73 

#10, p.6 

#13, pp.9, tO 

#15, pp.56-57 

#16, pp.76-77 

(see also) Cuba, Larry 

(see also) Ellenshaw, P.S. 

(see also) Hamill, Mark 

(see also) Lucas, George 

(see also) Prowse, David 

Star Wars Holiday Special 

(TV program) 

#19, pp.50-53 

Star Wars II (movie) 
(see) The Empire Strikes 
Back (movie) 

State of the Art 

#4, pp.12-13: 2001 (movie 
#5, pp.12-13:Sfa/-Tre/c(TV 


#6, pp.52-54 

#7, pp.48-49; Planet of the 
Apes (movie) 
#8, pp.28-29: Star Trek (TV 
#9, pp.68- 69 

#10, pp.32-33,71: Logan's 
Run (TV series) 
#11, pp.54-55,78: Logan's 
Run (TV series) 
Buck Rogers (TV series) 
#12, pp.36-37 
#13, pp.20-21 
#14, pp.34-35 

#16, pp.56-57,66: Star Wars 

#17, pp.66-67: C/ose En- 
counters of the Third Kind 

#18, pp.30-31: Close En- 
counters of the Third Kind 

#19, pp.32-33: Star Wars 

#20, pp.24-26: Capricorn One 

#21, pp.56-57: Heaven Can 
Wait (movie) 

#22, pp.30-31: Science fiction 

Steiner, Max 




#7, p.8 

Striepeke, Dan 

#12, pp.54-56 

Stella Star (movie) 
(see) Starcrash (movie) 

Superman, 1948 (movie) 
#20, pp.48-51 

Superman— The Movie 


#6, p.13 

#9, p.14 


#15, pp. 18-1 9 

#19, pp.58-59 

#20, pp.40-46,74 

#21, p.31 

(see also) Donner, Richard 

(see also) Reeve, Christopher 

Supertrain (TV series) 
#22, p.11 

Survival Run (movie) 

#2, p.63 

#3, p.12 

#5, p.10 

back cover— photograph 

#8, p.10 

#10, p.12 

Takei, George 

#3, p.31 

#17, p.72 

Tate, Nick 

#2, p.7 (interview) 
#4, pp.48-52 

Television special effects 

#9, pp.62-67 

Things to Come (movie) 
#10, pp.76-77 

This Island Earth (movie) 
#15, pp.74-77 

Thongor in the Valley 
of Demons (movie) 
#15, pp.32-33 

3-D Movies 

#4, pp.24-28 
#4, pp.29-30 
film processes 
#5, pp. 16-28 

Time after Time (movie) 
#22, p.14 

The Time Machine (movie) 
#13, pp.72-75 

The Time Machine Part II 




#5, p.40 

Timescope (movie) 
#3, p.6 

20,000 Leagues Under the 
Sea (movie) 
#10, pp.74-75 

Twilight Zone (TV series) 
episode guide 
#15, pp.40-51 

2001: A Space Odyssey 

#4, pp. 12-1 3 


#12, pp.38-39 

UFO (TV series) 
#5, pp.48-51 
episode guide 
#5, pp.52-55 


#17, pp.20-21 

Ustinov, Peter 

(see) Logan's Run (movie) 

Vallejo, Boris (artwork) 
#5, pp.34-35 
#19, p.77 


#20, pp.54,64 

Verne, Jules 

#10, pp.74-75 
#12, pp.76-77 
#13, pp.76-77 
#14, pp.76-77 

War of me Worlds 

Viking Lander 2 

#12, p.8 

Vincent, Jon Michael 

#5, backcover 


#2, pp.66, inside back cover 
#3, pp.66, inside back cover 
#4, pp.66, inside back cover 
#5, pp.66, inside back cover 
#6, pp.74, inside back cover 
#7, pp.70, inside back cover 
#8, pp.66, inside back cover 
#9, pp.76, inside back cover 
#10, pp.74-75 
#11, pp.76-77 
#12, pp.76-77 (David 
Houston— Editor) 
#13, pp.76-77 (David 
Houston— Editor) 
#14, pp.76-77 (David 
Houston— Editor) 
#15, pp.80-81, 64 (David 
Houston— Editor) 
#16, pp.76-77 (David 
Houston— Editor) 
#17, pp.72-73 (David 
Houston— Editor) 
#18, pp.72-73 (David 
Houston — Editor) 
#19, pp.76-77 (David 
Houston— Editor) 
#20, pp.76-77 (David 
Houston— Editor) 
#21, p.72 (David 
Houston— Editor) 
#22, pp.64-65,48 (David 
Houston— Editor) 

The Vortex (movie) 
#22, pp.49-51 

Voyager Spacecraft 

#7, pp.70-71 
#10, p.14 
#11, p.8 

Wagner, Lindsay 
#1, pp.8-11 


#2, inside front cover 

Walt Disney Productions 

#13, pp.30-33 

The War of the Worlds 

#2, pp.26-31 
#11, p.16 

Warlords of Atlantis (movie) 
#16, p.7 

Warren, Gene . 
#7, p.39 
#8, pp.6-7 

(see also) Special ef- 
fects—model animation 

Wells, H.G. 

#2, pp.26-31 
#12, pp.76-77 
#13, pp.76-77 
#14, pp.76-77 

When Worlds Collide (movie) 
#2, p.7 
#5, p.41 

The White Buffalo (movie) 
#9, p.10 

Whitney, Grace Lee 

#3, 0.26 




Williams, Wade 

#4, pp. 10-11 
#15, p.12 

Wizards (movie) 
#2, p.63 
#5, p.10 
#7, p.14 

Wonder Woman (TV series) 
(see) The New Adventures ot 
Wonder Woman (TV series) 

World Science Fiction Con- 

(see) Hugo Awards 

York, Michael 

(see) Logan's Run (movie) 

Yuricich, Matthew 

#13, pp.54-61 (interview) 

The Zetetic (magazine) 

#3, p.8 



STARLOG/JulyI979 29 

Space-Age W Space ware 


electronics adds 

a new dimension 

to SF toys. 

American toy manufacturers made 
three discoveries last year that are 
changing the shape of their in- 
dustry. One is that the electronic features 
added to toys by microchip technology is a 
powerful sales draw, even in the higher price 
ranges. Another is that space-related toys 
are in greater demand than ever. Perhaps the 
most important discovery is that electronic 
and space-related toys appeal to a greater 
age range than any of the other toy 

The result, as seen on this page, is the first 
wave in a revolution in toymaking that 
promises even greater things to come— 
space toys that have built-in appeal for kids 
of all ages. 

Milton Bradley's Star Birds, the white 
Avenger (good guys) and the black Intruder 
(bad guys), are enhanced by a variety of ef- 
fects—acceleration and cruising sounds, 
simulated lasers and the unique capacity to 
"sense" a successful hit by its own or its op- 
ponent's "laser" and respond with the 
sound of a whooping siren or a disabled 

Mattel's Electronic Battlestar Galactica 
Command Ship, nearly two feet long, also 
features firing lasers and electronic sound. 
Each of the side sections contains a launch- 
able Viper ship and the central module car- 
ries four land vehicles. 

South Bend has two electronic tie-ins to 
Star Trek— The Motion Picture: the Elec- 
tronic Enterprise and Star Trek Phasers, 

both with phaser-like light and sound. 

South Bend assures that these are exactly 

as they will appear in the film— except that 

the crew's phasers won't say Star Trek on the 


Kenner's Star Wars Battle Command, a 

game designed for all ages, offers basic, 

intermediate and advanced levels of 

play. As the players attempt to blast 

each other out of the Empire, they are 

threatened by hidden TIE fighters and 

a black hole. The solo player will find the 

machine itself a challenging opponent. 

ROM the Space Knight, from Parker 
Brothers, is the first space-inspired elec- 
tronic action figure. Thirteen inches tall, 
ROM comes equipped with a light com- 
municator, laser, rocket pod backpack and 
other space-age accessories. Among his 
repertoire of spacey sound effects is an eerily 
realistic breathing sound. * 

ROM the Space Knight 

Star wars Battle Command 

Star Birds Avenger and intruder 

30 STARLOG/Ju/y 1979 

Electronic Battlestar Galactica command Ship 


Three Years Down, Six Months to Co 

Three years of starlog! It hardly 
seems possible. Has it been that long 
that I've been reporting on the once 
and future Star Trek movie? How could so 
much happen in just three short years? 

My thoughts wander back to starlog's 
first issue — a beautiful tribute to Star Trek, 
from the stunning cover through the entire 
magazine. The minute I saw that issue I 
wanted to be involved, and it was really the 
people at starlog — Kerry O'Quinn, Nor- 
man Jacobs, David Houston, Howard Zim- 
merman and many others— who gave me my 
first "big break" as a writer. They gave me a 
chance to publish my first magazine article: a 
brief piece about the man I had just begun 
working for back in 1974, when they were do- 
ing an interesting periodical called TV 
Showpeople. After that article about Gene 
Roddenberry, I went on to do a couple of 
other interviews with television personalities 
until Showpeople eventually folded. But I 
liked these guys, believed in their publications 
and knew that one day I'd be working with 
them again. Enter starlog, one year later. 

Three years? How could I have possibly 
talked about the same movie for three years? 
How many new startdates, new staff 
assignments, parties and celebrations have I 
reported on in order to keep fandom at bay 
and well informed at the same time? In those 
incredible three years, we've seen Star Trek 
move from a small-budget film of around $5 
million, to the league of today's megamovies 
—pictures with budgets of $20 million and 

Meanwhile, back in 1979, everything is still 
"go" for the Star Trek— The Motion Picture 
premiere date in December. (Please stop 
listening to those crazy rumors; you'd never 
believe the weird phone calls we get!) 

The Klingon sequences are being filmed in 
June, and we'll be getting an extensive look at 
a Klingon bridge in these scenes, something 
we never really saw in the Star TrekTV series. 
Mark Lenard plays the part of the Klingon 
Commander— and he now has the honor of 
being the only actor ever to play all three ma- 
jor Star Trek aliens— a Romulan (the Com- 
mander in "Balance of Terror"), a Vulcan 
(Sarek, Spock's father, in "Journey to 
Babel") and now a Klingon. Mark can cur- 
rently be seen in NBC's new series, Cliff- 
hangers, in which he plays the evil emperor of 
an underground world. 

The Star Trek softball team is now (you 
should pardon the expression) in full swing, 
and Sunday morning games have helped 

From left: Wise, Roddenberry, Shatner, Kelley and Nimoy. 

reunite many members of the cast who fin- 
ished filming their roles back in January. The 
games have really helped bring in much need- 
ed dollars for the Muscular Dystrophy 
Association, and there has even been some 
national television attention devoted to this 
success. For anyone who is planning to be in 
the Los Angeles area this summer and would 
like a chance to support our team and its wor- 
thy cause, our games are held at Rancho 
Park, across the street from 20th Century- 
Fox Studios on Pico and Motor at the park's 
diamond #1. We're playing opposite other 
teams in the motion picture and television in- 
dustry, such as Mork & Mindy, Merv Griffin, 
Kaz and The Bad News Bears (I think that 
means the crew, not the kids in the new TV 
series— it would be embarrassing if we were 
beaten by the little tykes!). 

Bill Shatner is also active on our softball 
team, and he is now starring in the play 
Otherwise Engaged, in its current run at the 
Solari Theatre in Los Angeles. 

Leonard Nimoy's assistant, Teresa Victor, 
is mending nicely from her foot injury, and 
will be helping in the MDA softball team's ef- 
fort too. She told us that Leonard is back 
from his highly successful run of his one-man 
play, Vincent, and will begin filming his 
fourth season of In Search Of, the highly ac- 
claimed syndicated television program, 
which he narrates. Leonard's recent film, In- 
vasion of the Body Snatchers, continues to do 
well at the box office. 

Prom the Mailbag: 

"Where can we buy tickets to the premiere 

of ST-TMPm December?" This has become 
the most-asked question this month. We're 
receiving several calls and letters a day asking 
us to 1 ) reserve seats 2) sell'tickets 3) play local 
hometown extravaganzas, often for charity. 
We're naturally pleased that the lines have 
already begun forming at the theaters in the 
minds of some fans, but it is far too early to 
make such arrangements. 

Mark Trinko of Midlothian, Va., asks, "Is 
Willard Decker the son of the late Com- 
modore Matt Decker, of the U.S.S. Con- 
stellation, from the Star Trek episode, 'The 
Doomsday Machine?' " There is no mention 
of Commander Decker's parentage any- 
where in our script; however, Gene did have 
this in mind when he created the character, 
and I believe you will see certain father-son 
similarities of character and integrity . 

Jim Moens, president of the I.D.I.C. Star 
Trek fan club in Moline, 111., would like to 
know more about the new merchandise to be 
based on ST-TMP. We've talked a little 
About this in previous columns, and I've men- 
tioned something about this area in starlog 
#21. There will be many new books from 
Pocket Books, Inc.; toys and props from 
Milton Bradley and other manufacturers; 
jewelry from Aviva Enterprises and many 
other things. Lincoln Enterprises will have a 
special new catalog with exclusive items from 
the movie. If you don't already have their 
present catalog and wish to be placed on their 
mailing list, send a large, business-size, self- 
addressed, stamped envelope to Lincoln 
Enterprises, P.O. Box 69470, Los Angeles, 
CA 90069. * 

STARLOG/ July 1979 31 




As Captain Ahab is to Moby 
Dick, as Captain Bligh is to 
Mutiny on the Bounty, 
Captain James T. Kirk is to Star 
Trek. A man of principle and integri- 
ty; resourceful and daring yet always 
mindful of the fate of his crew, Cap- 
tain Kirk became the swashbuckler 
of outer space. William Shatner, the 
man behind the character, has enor- 
mous respect for his alter ego, and in 
many respects, is as enthusiastic, if 
not more, about the role today than 
when he first decided to portray the 
character on TV in 1966. 

On the set of Star Trek— The Mo- 
tion Picture, Shatner is relaxed and 
cheerful. While many of the other 
original cast members look 
noticeably older, Shatner appears 
not to have aged at all. His en- 
thusiasm.for the movie is infectious. 
More than anything, he seems com- 
pletely at ease with what is going on, 
and even appears unaffected by the 
often unending delays between 

Does he ever wish he'd never 
heard of Star Trek? 

"I don't know... I know I've 
always enjoyed watching it," he says 
with a roar of laughter. "No, serious- 
ly, I enjoy it— and enjoyed— it." 

Like Leonard Nimoy, Shatner has re- 
mained highly visible during the years be- 
tween the cancellation of TV's Star Trek and 
the fuming of the movie. Apart from a 
leading role in the television mini-series The 
Bastard and the film Kingdom of the Spiders, 
Shatner has starred in his own TV series (Bar- 
bary Coast) and in several highly acclaimed 
dramatic science-fiction readings. This in- 

32 STARLOG//u/y 1979 

"This is the 



in the upcoming "Star Trek" movie 
William Shatner has been pro- 
moted to Admiral Kirk. But to 
all dedicated Trekkers, he will 

always be Capt. of the "Enterprise." 

eludes his one-man show which toured more 
than 40 U.S. cities presenting the history of 
human fascination with space and science fic- 
tion, illustrated with poetry and dramatic 
anecdotes. He has also recorded the show on 
an album, William Shatner— Live. 

Shatner doubts he would have become in- 
volved in these other projects had it not been 
for his role as Captain Kirk, and explains at 

the same time that it took him a long 
time to realize just what kind of 
phenomenon Star Trek had become. 
"It wasn't just me who didn't 
realize it," adds Shatner. "Nobody 
had any idea that something big was 
going to happen. When the show was 
canceled, everybody thought, 'Well, 
that's the end of that.' We all went 
our various ways and didn't really 
think any more about it. It wasn't 
until maybe three or four years after 
the show had been off the air that it 
gradually picked up steam and 
became popular in syndication; we 
began to realize that Star Trek would 
have a life of its own far beyond 
anything that we had anticipated. 

"It was years later, sometime 
around 1970, that I began to realize 
what was going on." 

Shatner leans back and laughs as 
he recalls some of his own frustra- 
tions at that period. 

"I was busily working at all kinds 
of things, but all that people seemed 
to be interested in was what it was 
like to be Captain Kirk on Star 
Trek. Every interview I did, all the 
interviewer wanted to know was 
Star Trek. I'd say, 'Let's talk aboul 
other things— like what I'm doing 
now,' and they'd just go straighl 
back to asking things about th« finally dawned on mi 
that something was amiss— or rathei 
something was afoot!" 

Dispelling the Rumors 

The various rumors about which actor 
wanted to do the Star Trek movie willinglj 
and those who had to be lured back wit] 
enormous salaries have been conflicting am 
unending. Shatner, however, exude 

nothing but enthusiasm for his character 
revival — and says it was always so. 

"I wa&always enthusiastic about going on 
with it. The part of Captain Kirk was always 
a great acting challenge— the part of Cap- 
tain Kirk has to be one of the greatest, if not 
the greatest, role in series television. I never 
got bored with it. 

"When they asked me to appear in a TV 
motion picture, I felt that as long as Kirk was 
the central, the pivotal role it had always 
been on the series, I was terribly en- 
thusiastic. As it's turned out, it's a 
marvelous role in a major motion picture. 
So I'm gratified from that'point of view as 

With a gap of almost 1 years between the 
end of the television series and the filming of 
the movie, the aging process and personal 
changes were inevitable. Shatner might have 
aged less than others, but he is the first to 
agree that as a person— and as an actor— he 
has changed. 

"All of us have changed in one degree or 
another, but I suspect that people will 
recognize me as the captain of yore. . . " he 
says. ' 'All in all, people are very complimen- 
tary about the way I look, so there's some 
reminder of the Captain Kirk of 10 years 
ago, 1 hope. There will be differences 

though, basically because I'm different, 
both as a human being and as an actor. 
Those are the subtle ways, philosophical 
ways perhaps. That's what Captain James 
Kirk will be." 

Those inherent changes aside, Shatner ex- 
pects to continue his portrayal of Kirk as ac- 
curately as possible, and with scrupulous at- 
tention to past detail. Nonetheless, the fact 
that 10 years has elapsed is unavoidable, and 
both cast and producer are aware of that. 

"It's strange though, this 10-year gap," 
comments Shatner. ' 'Walking back onto the 
bridge of the Enterprise for the first 
time— the movie's Enterprise — was eerie, it 
was deja vu. And yet at the same time there 
was a feeling that time had not passed at all. 
Most of the old crew members were there, 
and in the first couple of moments, before 
filming started, all I was aware of was that 
all these laughing and talking people were 
the laughers and talkers of old. It was as 
though 10 years hadn't passed; quite strange 
and bizarre. But other than that, there was 
nothing different." 

Together Again 

If there was a problem for anyone working 
on the movie set, it was for Robert Wise, the 
director, who had never worked with the Star 

Trek cast before. 

' 'For the rest of us, it was as though we'd 
never stopped acting together once the ini- 
tial ice had been broken," explains Shatner, 
surveying the seeming chaos on the set in 
front of him. "Our timing, our manner of 
interacting, the way we reacted to each 
other, it could have been as though we'd 
gone off for a summer hiatus and then come 
back rather than almost 10 years. It was a 
source of astonishment to a lot of people, 
and for Bob [Wise] , it must have been a little 
alarming. There he was, the director, sud- 
denly faced with a cohesive whole, and he'd 
only really just begun to grasp Star Trek. 
But he's wonderful to work with, he really 
is. A very gentle and wise man." 

While some of the other original members 
have stayed within the medium of television, 
Shatner is no stranger to the differing 
techniques of feature films, and finds the 
adjustment less difficult than some others. 

"I've worked on many major motion pic- 
tures before this, but this is so much longer 
in the making because of the nature of the 
beast. I think everyone knows that working 
on a film is much, much slower than work- 
ing on a television show — almost in- 
conceivably slower in actuality, but 
ohh There have been days — and there 

t€ It's strange, this 
ing back onto the 
bridge of the "Enter- 
| prise" for the first 
time— the movie's 
"Enterprise"— was eerie, 
it was deja vu. ff 

will coiitinue to be days— when we'll get 
maybe just one, two or three shots— in a 
whole day. It's the special effects, the con- 
stant attention to detail. There's no alter- 
native and no one would want to sacrifice 
the kind of care and love that's being spent 
on the movie. But it can seem very tedious! 

"On the other hand, to balance the pic- 
ture, there will be days like today when we 
can do pages of script at a time. It makes up 
for the other type of day. And when it is go- 
ing well, there's an excitement around, an 
incredible rhythm. I suppose the process is 
just a little more ponderous, that's all." 

ii "Star Wars" and "Close En- 
counters" we saw the kind of FX 

that are epic in proportion. 
By comparison, "Star Trek— The 
Movie" will be even bigger 
and, I think, better.* f 

working Around the Effects 

The special effects are not just responsible 
for delays on the shooting schedule. Because 
most of them will be added to the film after 
the acting has been finished, the cast is large- 
ly imagining events they describe or have to 
relate to. 

' 'It does make it strange,' ' muses Shatner, 
"and sometimes it can even make things dif- 
ficult, but we got used to working that way 
on the series, so it's not completely alien to 
us. What happens on the set is that either 
Bob describes to us what we're meant to be 
in the middle of or watching, or they bring in 
sketches for us to look at. Obviously, there's 
a lot of action taking place on the viewing 
screen above the bridge. . .there's something 
happening out there that we can see— in fic- 
tion, that is. There's absolutely nothing hap- 
pening out there that we actors can see, but 
you get used to acting and reacting to 
nothing," he laughs. 

Because of his off-screen interest in space 
and science fiction,' Shatner takes a great 
deal of interest in every aspect of the movie, 
not only the special effects. One of the other 
features of the television series was the 
sociological study of other civilizations, and 
that side of the show will, according to 
Shatner, be as much a part of the movie as 
any of the effects. 

"The type of science-fiction movies cur- 
rently being made are highly popular, and in 
Star Wars and Close Encounters we saw the 
kind of effects that are epic in proportion. 
By comparison, Star Trek— The Movie will 
be even bigger and, I think, better. I think 
that on the big screen, the epic quality of 
' special effects is completely necessary, but in 
this film we've also attempted to retain the 
interaction of the characters and a story that 
suggests something larger than life. The 
combination of the two will be something 
really marvelous, and J suspect the final 
result will be very special. 

"I've been wrong before, but I've been 
right on occasion too, and I hope this is one 
of those occasions!" 

; For William Shatner, the release of Star 
Trek— The Movie will be yet another stage 
in the career of Captain James Kirk, the 
character that he will probably always be 
remembered for above any other. He hopes 
that interest in the film will be strong enough 
to allow him to continue his readings and 
one-man show around the country, and also 
looks forward to the possibility of repeating 
his appearances with various philharmonic 
orchestras around the country. (He's 
already appeared in Los Angeles, Chicago, 
Houston and Seattle, reading extracts from 
science fiction in between music from Star 
Wars and Close Encounters.) 

Meanwhile, as his presence is requested 
once more on the set, he leans forward and 
concludes, "It's going to be incredible when 
it's finished. I really believe that. You can 
get a feeling, you know [he stretches his arm 
toward the set], and what I get is positive all 
the way." * 

32-Page, Full-Color Anniversary Section 

Star wars 

: age 36 


age 38 

Body Snatchers 

: age 40 

Buck Rogers 


Recent Films 

: age 43 , 

Classic Films 


The Best of sfx 

: :ae45 

Star Trek 



: ;3e50 

space 1999 
TV Round-up 

: ~3e54 

Space Art 




The stop/ has influences from ail 
over the place," Lippincott says. 
"People have pointed out that 
they see suggestions of things 
from Lord of the Rings or Flash Cordon 
or Dune and there are a lot of influences 
from outside science fiction— like the 
Samurai tradition of Japan. That's part of 
the basis for the film's Jedi warriors, 
although l doubt that many people out- 
side of Japan will be too aware of it. Most 
importantly, the story relates to legend 
and fairy tale, it's what Grimm and Hans 
Christian Anderson were doing." 

"it's space opera," George Lucas freely 

(From: "Creating the Space-Fantasy 
Universe of Star wars," starloc #7, p. 21.) 

The opposing forces in the film are clear- 
ly drawn: There is no doubt as to who are 
the "good guys" and who are the "bad 
guys." Compare Luke, the picture of 
teenage innocence, with the troops 
of the Empire and the evil Darth Vader. 

Right: Luke strikes a blow against the 
Empire. This is a test composite for 
the TIE fighters sequence. It has 
not yet been color corrected to show 
off the green TIE explosions. 

flrom#17. p. 57) 

"The work that went into the making of 
this cine-magic is staggering. Over 70 
people are listed in the Miniature and 
Optical Effects' credits for the film; hun- 
dreds more added their behind-the- 
camera expertise to the production, we 
salute these unseen craftsmen and their 
incredible achievements. Here we pre- 
sent the on-screen heroes of the ultimate 
experience for all SF and movie fans, Star 
(From "Welcome Back to the Wars:" 

STARLOC #8, P. 40) 

Right: C-3PO, Princess Leia and one 
of the rebel commanders anxiously await 
the outcome of the desperate raid on 
the Death Star from Yavin's moon. 

STARLOG/ July 1979 37 


Steven Spielberg's production of 
Close Encounters of the Third 
Kind was the cover story of issue 
#12. His extraordinary vi- 
sion of mankind's first alien contact 
was brought to life with breathtaking 
realism by a hand-picked crew of 
geniuses, who shared Steven's compell- 
ing vision of intergalactic brotherhood: 

We are not alone 

Spielberg was quoted in that issue: "I 
think that a lot of the positive aspects 
in the film's subject matter comes from 
the fact that this is an unknown 
phenomenon that causes people to 
wonder if it's fantasy or reality, in a 
way, this dictated to me the fact that 
this was not going to be a movie where 
people hanging around the base of 
operations were consumed and digest- 
ed (by space monsters). I wanted to 
show a meeting of the minds. I'm very 
proud of the fact that our technology 
as we know it today could construct a 
base camp with enough apparatus that 
could glean the same kind of informa- 
tion from them as they could get from 
us. I just hope the film's final 35 
minutes conveys the feeling that all 
this could happen last week as op- 
posed to the future. I don't like the 
label 'futuristic' When something 
strains in terms of credibility, audi- 
ences say, 'Yeah, well, that's very 
futuristic' " 

Below: Spielberg was undecided at one point concerning the aliens . should 
they be shown and how would the audience react? Right: David Ayres, who 
was working at the Burmah's studio, displays one of the mechanical prototypes. 

The Mothership, which arrives in rolling clouds, rises majestically from 

behind Devil's Tower. Doug Trumbull's cloud effects were the most memorable 

since the Red Sea sequence in Ten Commandments. Below: The Mothership continues its 

move over the tower and descends over the base camp. Mothership photography was handled 

by the very talented Dennis Muren, who is currently working on the Star Wars sequel. 

One of the most satisfying 
aspects of Close Encounters is 
the arrival of the UFOs them- 
selves; saucer-shaped, pyra- 
mid, cuboid, city-scaped. . .the extra- 
terrestrial craft are probably the finest 
examples of optical effects ever to 
be created for the screen. Blended 
realistically with the live background, 
the saucers take part in a getaway 
chase along a highway, zip through 
tollbooths, soar over houses and, final- 
ly, land on Earth for the ultimate en- 

As pleased as he is with the finished 
film, Doug Trumbull admits that it was 
not an easy task to handle. "Close En- 
counters was a greater problem for me 
today than 2001 was at that time." (Ex- 
cerpted from STARL0C#12.) 

Far right: Roy Neary, whose car has stalled, 
is "sunburned" by the bright light of an 
overhead UFO. The truck cab was rotated 
in a gimbal to achieve a "zero-gravity" 
effect. Lower right:- Neary, his mind 
torn in desperation', tries to learn what is 
in his head. What is the meaning of the 
telepathic clue? Why has he been singled 
out? Could it have happened to anyone? 


uperman director Richard Don- 
ner was confident from the 
beginning: "Colin Chilvers will 
come out of this picture a new 

special-effects star." He has. Chilvers, 
along with four others from the SFX 
team, won special Academy Awards for 
their work. 

Right: Chris Reeve added 20 pounds of muscle in six weeks under the guidance of David 
"Darth Vader" Prowse. Below: Director Donner (left) explains a scene to Marc McClure, Jackie 
Cooper, Margot Kidder and Christopher Reeve. {The Man of Steel Has Got to Fly, #1 5, pp. 1 8-1 9) 


One of the best remakes in the 
history of science-fiction cinema 
is the new Invasion of the Body 
Snatchers. Full-grown pods ready 
for take-over are carried away 
from the distribution point by 
pod people. The trouble all starts 
when intelligent alien spores 
arrive on Earth one day (right). 

40 ST ARLOG/ July 1979 


uck Rogers is the original space 
hero. A few months after the 
50th anniversary of his first ap- 
pearance, the first wide-screen, 
full-color cinematic treatment of Buck 
Rogers opened nationwide. While the 
film does not follow the legend too 
closely, actor Gil Gerard gives a fine, light 
portrayal of the irrepressible man of ac- 


Gerard: "it was fun, all of it. There l was 
with these big toys to play with— like the 
mock-up of the space shuttle. I was a 
space pilot, with my hands on controls 
that really worked ... it was wild! it's so 
easy for me to get into something like 
that." (Buck Rogers Becomes the Movie, 
#21, p. 52) 

Left: Preproduction sketch by artist 
William Stout shows Buck and Twiki 
entering the remnants of Old Chicago. 
Above: Buck, disguised as one of Prin- 
cess Ardala's soldiers, sabotages the 
secret invasion fleet. Right: Kane's 
attack craft return to the flagship 
after investigating Buck's shuttle. 

Starcrash is the 
brainchild of Ital- 
ian producer/dir- 
ector Luigi Cozzi. 
It has a little bit 
of everything. 
Top left: Marjo 
Gortner and Caroline 
Munro (Stella Star). 
Bottom left: The 
floating city. Left: 
Munro with David 
Hasselhoff — Stella's 
avenging prince 
from the stars. 

STARLOG/July 1979 41 

Below: Richard Chamberlain discovers the 
sceret to an ancient prophesy of cataclys- 
mic doom in The Last Wave. Left: Artifi- 
cial evolution is responsible for the 
creation of these humanimals in the 
recent update of H. G. Wells' The Is- 
land of Dr. Moreau. 

During the past three years 
starloc has covered a variety of 
new and recent SF films: the 
trend-setters and the remakes; 
fantasy films and hardware films; ex- 
plorations of humanity's inner nature 
and voyages to the vast reaches of space; 
future societies and society's end. in 
short, science-fiction cinema in the 60s 
and 70s has continued to investigate the 
manifold themes that have been 
established in the classic SF literature. 

Above: Arthur Kennedy, Donald Pleasance 
and Stephen Boyd take a Fantastic Voy- 
age in the human bloodstream to destroy 
a blood clot in the brain from the in- 
side. Above left: Special effects from 
Dark Star, a low-budget satirical clas- 
sic. Left: Carousel promises "renewal" 
to the lucky ones in Logan's Run. 

Top: 2001: A Space Odyssey is perhaps the 
most talked-about film in the history of 
science fiction. Pictured here is the 
starship, Discovery 1, with a shuttle 
emerging from the forward bay. Above 
left: From the master of stop-motion 
animation, Ray Harryhausen, comes Sinbad 
and the Eye of the Tiger, filmed in Dy- 
namation. Above: Dedication to the agen- 
cy and its goals causes the director of 
NASA to fake a manned Martian landing in 
Capricorn One. Things get out of hand 
when he orders the deaths of the three 
astronauts. Left: Mutated killer fish 
stalks its unsuspecting prey in Piranha, 
a low-budget, stop-motion shocker from 
young director and SF fan Joe Dante. 

STARLOG/Ju/y 1979 43 


The golden era of science-fiction 
cinema is considered by many 
to be the decade from 
1950-1960. in an age before the 
development of sophisticated space 
hardware, before satellites revealed 
the grandeur of the Earth from space 
and the faces of the other planets as 

well, a group of incredibly talented 
filmmakers brought the future to our 
doorstep. We've selected five represen- 
tative films from the period: two 
stories of space travel, two very dif- 
ferent treatments of the "invasion" 
theme and an adaption of H.C. Wells' 
classic tale of time travel. 

Righf Rod Taylor feels the sting ot a Morlock's whip in the distant future, from The Time 
Machine Below: Crewmembers of UP Cruiser C57D watch an eclipse from space in 
Forbidden Planet Below right: Earth scientists & Metalunan leader in This Island Earth. 

Left- In George Pal's Destination Moon, astronauts wore color-coded uniforms 
(an idea later picked up by Star Trek, et. al.). Robert Heinlein wrote the 
script and Chesley Bonestell did the matte paintings and some set design. 
Above: The tentacled leader of the Invaders from Mars. The film's original 
ending was considered "too scary" and was changed after its initial release. 

Below: Robby as he appeared before the 
cameras in Ark II and in STARLOG #7. The 
history of SF's most famous and unique 
robot was fully explored. Bottom: Dan 
Striepeke, who with John Chambers helped 
revolutionize makeup in the Apes series, 
was interviewed for STARLOG #12. Veteran 
makeup artist and innovator Dick Smith, 
whose work is among the most highly res- 
pected in the field, was also interviewed. 


Starloc's series of articles on the 
field of special effects began in 
issue #6. The introduction to the 
series is as true now as it was then: 
"Since starlog first appeared not quite a 
year ago, no single subject has been more 

I requested by readers than special effects. 
Letters have asked to see behind-the- 
scenes photos, to catch glimpses of how 
they do it,' to read explanations of the 
amazing technology involved: to learn 
the secrets of visual magic. 
"Okay, you asked for it, you got it!" 

Above- STARLOG has explored many diverse fields in its SFX 
series. Who can forget the sound of the Martian heat ray from 
War of the Worlds, described in issue #15, page 68? Right: Brick 
Price with one of his Project: UFO miniatures; issue #20. Lower 
left- Joe Viskocil and Joe Johnston behind the scenes on Star 
Wars; issue #17. Lower right: Model animation with Gene Warren 
on Land of the Lost from issue #8. 


Above: Stuart Freeborn applies final touches lovingly to 
Chewbacca during the live-action filming of Star Wars in issue 
#1 1 . Rick Baker's gorilla creations and John Chambers on The 
Island of Dr. Moreau were also spotlighted. Above right: David 
Allen with his Kong model from the VW commercial; issue #21 . 

Below: Alec Guinness works his way across the live-action set on 
Star Wars. Issue #14 featured an interview with matte artist 
P.S. Ellenshaw (now known as Harrison Ellenshaw) who showed 
readers how matte painting must remain the "invisible art." 
Ellenshaw is now at work on Disney's forthcoming The Black Hole. 


Above- From the infamous Star Trek "Bloop- 
er Reel"— outtakes from the TV shooting: 
"The planet acts as a giant suppository. 
Both the shot of Spook with his sucker 
and the misspoken line were cut. Below: 
Kirk tells Oxmyx he wants "A Piece of 
the Action," one of the best-liked shows. 




tar Trek is where it all started for 
us in fact, starloc#i was originally 
conceived of as a Trek "one-shot 
special." But the number of Trek 

STARLOG/ July 1979 

fans was such that the first issue was 
practically a sell-out, and so starloc was 
launched, in 1976, Star Trek-The Movie 
was announced and Trekkers around the 

world went wild. The success of Trek In 
reruns is legendary. . each year the 
number of dedicated Trekkers grows by 
leaps and bounds, in our second issue, 
November 1976, Gene Roddenberry told 
us, "I'd like to use all the original produc- 
tion people on the film ... I think the 
story with them is the same as it is with 
the actors, if available, they'd like to do 
the film." (The Star Trek Movie, #2, p. ;3) 
"On Friday, January 26, 1979—124 days 
after it all began on the previous August 
7— star Trek— The Motion Picture finally 
wrapped principal photography. Ap- 
plause, laughter and slaps on the back 
greeted this final take for Bill Shatner, 
Leonard Nimoy and DeForest Kelley— the 
Three Muskateers, as director Robert 
Wise has affectionately nipknamed them 
—when the three leads 'said their final 
lines at 4:50 that afternoon. However, 
cameras continued to roll well past 10:00 
that evening as Wise completed scenes 
with Stephen Collins (Decker) and Persis 
Khambatta (ilia)." (Star Trek Report, "it's a 
wrap!" #22, p. 29) 

Top center: Gene Roddenberry explains scene 
set-up to Bill Shatner as Nichelle Nichols 
listens in. Top: Mike Minor's preproduc- 
tion painting of the Enterprise bridge, 
fairly accurate except for costume designs. 
Compare it with the bridge from the TV show 
(left). Below:. Ralph McQuarrie's vision 
of the Enterprise approaching a starbase. 


In the wake of the Star wars phenome- 
non, amid a record- breaking ABC-TV 
promotional campaign, came Bat- 
tlestar: calactlca. A large-scale space 
opera, the series drew upon the talents of 
Star Wars veterans John Dykstra, Joe 

viskocil and Ralph McQuarrie. me promo- 
tional push resulted in solid ratings for the 
earliest episodes. Though ratings sagged 
in mid-season, the release of the premiere 
episode as a feature film in "Sensurround" 
served to renew enthusiasm for many. 

Opposite page: Jenson on Athena: "I first 
thought of her as being a bit straight, 
but as the show got going, she got spunkier 
(Adama's Daughter Grows Up, #19, p. 30) 
Production artist Ralph McQuarrie: 
"I was happy before, but this is a bigger 
deal. It's more exciting, and more." 
(Man of Light & Vision. #1 7, p. 36) Advice 
to aspiring technicians from John Dykstra: 
"When you start out for Hollywood, make 
sure that you have a real skill to sell, 
something that you are really good at." 
{SFX Careers, Part 1, #22, p. 57) Richard 
Hatch: "I just love science fiction. A 
lot of SF is very spiritual, metaphysical." 
Dirk Benedict: "Apollo is more mature; 
he thinks of the future. {Two Crazy 
Kind of Guys, #18, p. 24) 

Pyrotechnician Joe Viskocil: "I insisted on some sort of 
continuity of design to the explosions themselves." {SFX: 
Explosions for Miniatures, #17, p. 58) "The most spacious, 
complex and intricate bridge set ever constructed." {The 
Galactica Bridge Set #21 , p. 28) A lone Cylon stalks a 
frontier planet in the episode called "The Lost Warrior." 

^ z 








Space: 1999, like Star Trek before 
it, has grown in popularity since 
its cancellation. Now in syndica- 
tion, it reaches a larger, more 
enthusiastic audience than ever before, 
unlike Trek, just about every episode is 
loaded with spectacular special effects, 
courtesy of the FX team of Nick Adder 
and Brian Johnson. Space featured more 
aliens, spaceships, space battles, sabo- 
tage, braindrains and startling trans- 
formations than any other short-lived 
series has or is likely to have in the near 

Above: Alan Carter (Nick Tate) finds an 
unconscious Koenig (Martin Landau) in 
"The Chrysalis A-B-C." Top right: Maya 
(Catherine Schell) is flanked by two alien 
creatures she's been know to turn into. 
Middle right: Moonbase Alpha. Right: 
Close-up of one of the Alpha Eagles. The 
nose cone detaches for emergency use. 
52 STARLOG/July 1979 


Above left: Alan Carter is about to have his life force 
drained from him to feed the biological computer, Psyche, in 
"Metamorph." Below: In "Dragon's Domain," this "Sargosso of 

T-O" SPACESHIPS, p. 31) 


space" sequence utilized quite a few ships that had appeared 
in previous episodes. Above right: Never-before-published 
photo shows all of the principals from the first year of Space. 

Jk^-^m 'f 




•"*■ •'#&" 

t *"-* - 



— +m~ 


Science fiction on television has 
come a long wav since the advent 
of the medium back in the 1930s. 
It wasn't until 1949 that Captain 
Video the original SF-TV offering, made its 
way to the nation's airwaves; it was one of 
the first nationally televised series. 

starloc's view of the field has included 
such features as The Golden Age of SF 
Viewing in issue #9, numerous Log Entries 
and an annual preview of upcoming series 
and specials. The following pages high- 
light some of the more colorful coverage 
in the past three years; everything from 
superheroes to superspoofs, some flying 
through space, others through the 
depths of the oceans, we've reviewed 
some of the more popular series as well 
as those that died quick deaths. We've 
also looked at a few specials that deserve 
particular merit. So, sit back and enjoy 
the show. 

Spider-Man (above left), the web-slinging sleuth, 
hasn't been as lucky on TV as in his comic 
book adventures. Spidey appears in irregularly 
scheduled specials. Not so for the Incredible 
Hulk (above) whose eerie transformations have 
become a staple on CBS for the past two 
years. Left: The crew of the ill-fated Fantastic 
Journey. See the article and episode guide in 
issue #9. 

54 STARLOG/ ,/u/y 1979 

Lynda "Wonder Woman" Carter (above left) was another in the CBS line-up of comic book 
characters; "was" since the network decided to drop the series. Captain Marvel (above right) 
was part of CBS' Shazam/lsis Hour, a Saturday morning series. Marvel's flight ended after the 
first season. Patrick Duffy, as The Man from Atlantis (below left), tells STARLOG readers, in issue 
#9, "I'm not a swimmer." After four specials, the series ran for one year. In issue #8, STARLOG 
reviewed Gene Roddenberry's Spectre. A tale of black magic and sorcery, Spectre was a suc- 
cessful telefilm starring Robert Culp and the late Gig Young. Though the possibility of a series 
was there, Spectre never made it. 

STARLOG/July 1979 55 

In 1972, the team of Gerry and Sylvia Anderson, with the creative aid 
of Reg Hili, came out with UFO (above left). STARLOG covered the 
series with an article and episode guide in issue #5. Star Wars was 
revisited in a TV special last fall (above right), which found our heroes 
in search of Chewbacca. Shown here is his wookie grandfather, Itchy. 
Logan's Run (below left) was an outgrowth of the movie. STARLOG 
published an episode guide in issue #13; the series ran for one 
season. Patrick McGoohan starred in the popular British series, The 
Prisoner. Now in syndication, the show is an SF hybrid of such 
classics as Orwell's 1984 and Kubrick's 2001. An episode guide was 
featured in STARLOG #11. 

56 STARLOG/ July 1979 

Project: UFO (right), a Jack Webb production 
aired on NBC, drew its material from the 
now-defunct Project Bluebook, the U.S. 
investigation of unidentified flying objects. 
Lost in Space (below) has such an enthusi- 
astic following that we were inundated with 
requests for an episode guide. The wishes 
were granted in STARLOG #21, which included 
an extensive article and complete episode 

Quark (below) was the story of an inter- 
galactic garbageman, Richard Benjamin, that 
itself hit the dumps after one short season. 
Last fall, CBS ran a telefilm about Dr. Strange 
(below right), starring Peter Hooten in the title 
role. Another comic-book-to-TV creation, the 
pilot was well received by the critics but not in 
the ratings. 


One of the most consistently 
popular features in starloc has 
been our use of space art and 
astronomical art. Fantasy art has 
been represented as well; illustrations by 
Frank R. Paul, Virgil Finlay, Boris vallejo and 
Frank Frazetta have graced our pages, 
preproduction art by top talents Ralph 

McQuarrie, Mike Minor and David Egge, 
among others, has also been showcased 
over the past three years. But it is the 
space art that many readers find most ex- 
citing—those visions of alien worlds and 
the hardware that will take us there or 
make it possible to go. Here for your en- 
joyment are three pages of space art. 


Opposite page. Top: "Space Station 2000" by Bob McCail was 
chosen as the first poster selection for the Space Art Club. 
(Prints are still available.) Center: This remarkable vision 
of Saturn, seen from within the rings, was painted by Don Dixon. 
Bottom left: Mining a passing asteroid for mineral ore by the 
dean of American space artists, Chesley Bonestell. Bottom right: 

Jupiter eclipsing the Sun, as seen from its moon, lo. This 
page. Above: Ron Miller's illustration of Venus, for Inter- 
planetary Excursions, Inc.'s trip to "The Golden Veil and Other 
Skies." The super-dense atmosphere makes the surface appear 
to slowly "bend up" and merge with the sky. Below: NASA illus- 
tration for an O'Neill-type orbital colony. 

All graphics on this page are from star- 
LOG's Photo Guidebook to Space Art. 
Above: Ray Crane's evocation of the hyp- 
notic appeal of deep space. Above right 
Exploring Tethys, one of Saturn's moons, 
by Ron Miller. Below: A ram-jet probe 
descends toward Jupiter, by David Egge. 

Above: The first color painting of a space station 
ever published in the U.S., by the late Frank R. 
Paul. It depicts Hermann Noordung's design of para- 
bolic mirrors that provide power for the cylindrical 
observatory. Left: Saturn, as seen from Titan, by 
Ludek Pesek. Below: The surface of Titan, by Ron 
Miller. Methane geysers erupt in the background. 


"Even after 
looking at thou- 
sands of photos 
taken by Voyager 
1 's cameras, says one 
of the project's scientists, 
"this picture still wins the 
beauty contest hands down." 
Taken while the spacecraft was yet 
about 20 million kilometers from the 
planet, nearly three weeks before the point 
of closest approach, it was intended merely as one 
of a series of views of Jupiter. Instead, it turned out 
to capture the stunning spectacle of the planet's 
exotic moon lo "hovering" over the huge Jovian 
turbulence feature — big enough to hold a dozen 
Earths -known as the Great Red Spot. Other pho- 
tos have revealed a wealth of detail on the Spot's 
structure and circulation, while lo has offered a 
spectacular of its own that is one of the major find- 
ings in the history of planetary exploration by 
spacecraft (see p. 62). 

Gigantic Jupiter and its "mini solar system" 

of individualistic moons have revealed 
wonders at every turn to the probing sen- 
sors of the Voyager 1 spacecraft. 




upiter is certainly not all there is to the 
solar system, but in one sense, it comes 
close: The giant planet, its volume 
some 1,300 times that of Earth, embodies 
more than 70 percent of the mass of the solar 
system that is not part of the Sun itself. Its 
major satellites are at least as diverse as the 
planets of a star, and it wraps them all in a 
huge magnetic field that has been called "the 
largest structure in the solar system." Two 
spacecraft — Pioneers 10 and 1 1 — had already 
been to Jupiter by the time Voyager 1 flew by 
on March 5 of this year, but the greatly im- 
proved instruments of Voyager I Oaunched 
on Sept. 5, 1977) have yielded a host of new 
details and major discoveries that should 
keep scientists and other planet watchers in 
thrall for years. And Voyager 2, its activity 
schedule hastily modified to encompass its 
predecessor's findings, is close behind. 

Right: Two discoveries in the same photo: A 30,000-km sweep of a huge auroral arc on the 
nightside of Jupiter's north polar region, and bright spots showing lightning bolts equivalent to the 
largest on Earth, later confirmed by another sensor's detection of the characteristic radio- 
frequency signals known as "whistlers." 

Left: This single lucky shot revealed Jupiter to be the third known ringed world in the solar 
system. The wiggly lines are stars, made long by the spacecraft's motion and wiggly by the cor- 
rective firings of the attitude-control system. Only a single ring plane is shown (seen edge-on), but 
Voyager's movement makes it appear as six. 

STARLOG/ July 1979 61 

Left: Amalthea, Jupiter's innermost satellite, was revealed by Voyager's 
photos to be the skinniest moon yet measured in the solar system, nearly 
twice as long as it is wide. Only a couple of asteroids among measured ob- 
jects are as elongated, and Amalthea— barely 200 km in its largest dimen- 
sion—may once have been one of them, since a substantially larger object 
might have had enough gravitational attraction to pull itself into a more 
spherical shape in the early, molten stages of its evolution. The red color is 
unusual for such a dark object (its reflectivity is less than 10 percent), and 
may represent a surface coating rather than the bulk-of the satellite. As for 
the bright spots, variously known as "the headlights" or "the eyes of 
Amalthea." Voyager scientists taking an early look at the image would offer 
only that they were probably "something on the surface." 
Below: lo, larger than Earth's moon and closer to Jupiter than any other Jo- 
vian satellite except Amalthea, was known to be bizarre long before 
Voyager I was ever launched. It is wrapped in a glowing, golden veil of 
sodium atoms (see Interplanetary Excursions. Inc.— STARLOG #1 4), 
generates a hot doughnut-shaped torus of sulfur ions that encompasses its 
entire orbit, completes an electrical circuit with Jupiter that carries a cur- 
rent of a million amperes at 400.000 volts, and even seems to have a role in 
controlling powerful radio signals from Jupiter that reach all the way to 
Earth and beyond. But Voyager I revealed still more: An almost complete 
lack of meteorite impact craters (suggesting that something has been 
covering them up), a strangely smoothed-over surface (with a similar im- 
plication), an exotic color scheme of red. yellow, white and black, and startl- 
ing infrared temperature measurements interpreted as possible lakes of 
lava on the surface. And then (see below) the dramatic reason became 

Below: With the exception of extraterrestrial life, a number of 
Voyager's scientists have noted, no other discovery in planetary 
research could be as significant as another still-active planetoid 
besides Earth. On Earth, oceans, weather and plate tectonics con- 
spire to wipe out traces of the planet's evolution: other solid solar- 
system bodies studied by spacecraft have turned out to be either 
dead or barely twitching, leaving scientists hoping in frustration for 
another example of world-shaping processes still in progress. And 
lo is alive and kicking. Photos such as this one reveal large-scale 
volcanic eruptions actually underway, spewing dust and gases 
hundreds of kilometers into space. Preliminary calculations sug- 
gested that the eruptions may be capable of literally erasing 
kilometer-sized impact craters in as little as a few million years, 
and according to such estimates, the material tossed out may be 
laying new surface over old as rapidly as a millimeter or more 
every 12 months, lo is presumably too small for "accepted" 
methods such as gravitational heating or concentrations of 
radioactive elements to account for its still-churning condition, but 
a possible mechanism was proposed in a scientific paper pub- 
lished essentially as a prediction, mere days before the eruptions 
were discovered. Stanton J. Peale, of the University of California at 
Santa Barbara, and Patrick P. Cassen and RayT. Reynolds of 
NASA's Ames Research Center proposed that lo may be "the most 
intensely heated terrestrial-type body in the solar system" because 
of an effect known as "tidal heating": lo is gravitational^ locked 
with the same face always toward Jupiter, producing a "tidal 
bulge" on that side: One or two other Jovian satellites— Europa 
and possibly Ganymede— perturb lo's motions just enough to keep 
its orbit slightly eccentric, so that Jupiter essentially pumps the 
bulge in and out (causing the heating) as lo passes nearer and far- 
ther away. 


S: t 

* s 




STARLOG/ July 1979 

Left: Europa, third satellite out from Jupiter, apparently shares lo's 
lack of impact craters (though not its volcanoes), but it does display a 
striking array of vast, linear features — some of them reaching more 
than halfway around the object's circumference — on its presumably 
icy surface. Early speculation included the possibility that the streaks 
may represent fractures or faults in the surface, one of them possibly 
3,500 km long and as much as 300 km across. Voyager 2 will take a 
closer look in July. 

Above: The really fractured world, however, may be not Europa but the 
next satellite out, Ganymede. Numerous linear features suggest multi- 
ple fracture zones all over the surface, possible evidence for the same 
kinds of internal heavings that give rise to Earth's tectonics. One strik- 
ing example (see right) shows a wide, linear feature broken and 
displaced sideways about 50 km along a bright line evoking a classic 
strike-slip fault. Bright spots on Ganymede could be the results of 
meteorite impacts in an icy surface that is far enough from Jupiter to 
be cold enough to be hard enough to preserve the resulting craters. 
Above right: This photo of Callisto, fifth moon out from Jupiter (and 
outermost of the four large moons known as the Galilean satellites), 
shows the largest of several huge, concentric-ringed basins on its sur- 
face, this one being about 2,600 km across. In this photo, it was dif- 
ficult to tell (because of the lighting angle) whether the rings were 
anything more than flat features essentially "painted on the surface," 
but later images showed them to be raised ridges, possibly the 
preserved "ripples" formed by an ancient impact. And at last, conven- 
tional, lunar-type impact craters appear in profusion, although 
Callisto's density (like that of Ganymede) is barely half that of Earth's 
Moon, implying a satellite that may be half ice. * 

STARLOG/y u /v 1979 63 






(plus postage 

& handling) 

BERNARD HERRMANN was one of the grestest composers ever to work in motion pictures His scores 
to Hitchcock movies like "Psycho.- "North By Northwest." "Vertigo." and "The Man Who Knew Too 
Much " were responsible for creating new heights of suspense, thrills, adventure, and terror. His music 
for "The Day the Earth Stood Still." "Seventh Voyage of Sinbad," "Mysterious Island," and "lourney to 
the Center of the Earth." helped make these films classics and endeared him forever to fantasy and 
science-fiction fans. 

About a year before Herrmann's death, he composed and conducted a moody mysterious score tor 
it's Alive " an SF-horror tale of a monster, mutant baby The success of the film led to a sequel, and Her- 
rmann's music was lovingly and respectfully reorchestrated and conducted by his dead friend Laurie 
lohnson It's not party music; it's a score for those who want to dim the lights, get into a dark mood, and 
listen carefully to some wonderful musical chords and effects, including bizarre instruments such as 
twin synthesizers. The score to "It's Alive 2" (complete on this record) will recall the entire range of Ber- 
nard Herrmann's golden years in film music Can be played in STEREO or QUAD (SQMatru) 


A full hour of exciting orchestral suites from the movies 
of Albert Classer, one of the most prolific and talented com- 
posers of Hollywood's Golden Age. 

Never previously released, the thundering, soaring scores 
include stereophonic sound, and the deluxe jacket opens 
up revealing rare photos, credits, and notes on the eight 
science-fiction and adventure shows: "The Cyclops," "Top 
of the World," "Beginning of the End," "Amazing Colossal 
Man," "Big Town" TV series, "Buckskin Lady," "The Cisco 
Kid," "The Boy and the Pirates." 

$8.98 (plus postage & handling) 


For the first time, a soundtrack record of the classic 1 950 
movie of Man's first step into space. 

The dramatic full-orchestra score (complete on this 
album) is a 'stunning example of early Romantic film music 
— the type that inspired scores like "Star Wars." 

Composer Ferde Grofe is best known for his "Grand Can- 
yon Suite ' and other classics. The theremin. a wailing'elec- 
tronic instrument used in Hitchcock's "Spellbound," is 
heard in the Mars sequences 

A "must" for SF fans and soundtrack collectors, the 
jacket includes photos and extensive background notes. 

$7.98 (plus postage & handling) 

Send cash, check or money order to: 


475 Park Ave. South 
New York, NY 10016 

_"The Fantastic Film Music of ALBERT CLASSER" 
$8.98 (plus postage & handling) 
_"ROCKETSHIPX-M"$7.98(plus postages, handling) 
JIT'S ALIVE 2" $8.98 (plus postage & handling) 







U.S.A.— 4th Class postage: 5 72 each record 

— 1 st Class postage: $1 52 each record 
Canada-each record (US funds): $2 02 
Foreign — each record (US funds): $402 

Total Enclosed: $ 

DEALERS: Write for wholesale rates on these, and exciting 
future releases from STARLOG RECORDS 

NOTE: Send order on separate paper, if you don't want to 
cut out coupon. 

ONLY U.S., Australia and New Zealand funds accepted. 

These records have limited store distribution. If you cannot find them, 
order direct from STARLOG RECORDS 

No. 1 —Premiere Issue No. 2— 

Interview: Fred Pohl. 
The Man From Plane! X. 
Tomorrow: Isaac Asimov, 

The Truth Behind Cosmos 954. 
Interview: Arthur C. Clarke. 
Tomorrow: Norman Spinrad. 

No. 3— 

Quasars, Pulsars & Black 
Hoies. The SF Films of Jules 
Verne. Tomorrow. Fred Poh! 

No. 4— 

Interview: Alvin Toffler. 
History of the SF Pulps. 
Tomorrow: Ben Bova. 

No. 5— 

Interview: Ray Bradbury. 
Earthport: Space Station. 
Collier's 1951 Space Program. 

No. 6— 

Architecture: Solar Houses. 
O'Neill's Mass-Driver. 
Tomorrow: Robert Anton Wilson 


No. 7— 

Future Planetary Probes. 
San Diego Space Theater. 
Careers in the Space Program 

No. 8— 

Arcosanti: Future City. 
Space Art: David Hardy. 
Earthsat: Computer Phot< 

No. 9— 

The Real Albert Einstein. 
Pianetariums. Space Art. 
Tomorrow: Jacques Cousteau. 

No. 10— 

Interview: Timothy Leary. 
O'Neill: Space Colony Plans 
Tomorrow. Roger Zefazny. 

-Premiere Issue No. 2- 

Star Trek— Rare pix, complete Roddenberry Interview. Space: Star Trek Con News. 40 Made- 
episode guide, interviews. J999 Year One Episode Guide. for-TV SF Films. Space: 1999 
Bionic Woman. Space: 1999. Logan's Run. Flash Gordon, Year Two Episode Guide. 

"Arena"— The Original Story. 
3-0 SF Movie Guide. Nick Tate 
Interview, the Outer Limits, 

No. 5— 

Science Fiction Directory. 
History of 3-D Movies. UFO 
Episode Guide. Don Dixon Art. 

No. 6- 

Speciaf Effect: Part I. 
Heinlein on Destination Moon. 
Making of Fantastic Journey. 

No. 13— 

Interview: David Prowse. 
3001: A Space Comedy. Pa! 
Remembers The Time Machine. 

No. 14— 

Star Trek Spoof. The Art of 
Virgil Finlay. Project: UFO. 
Interview: Jim Danforth. 

Twilight Zone Episode Guide. 
Gaiactica: Sneak Preview. 
The Selling of Star Wars. 

The Fiims of Bert Gordon. 

Solar Power Satellites 

The Invaders Episode Guide. 


No. 19— 

interview: Ralph Bakshi. 
Corman: Master of the "Bs". 
Body Snatchers. Buck Rogers, 

Interview: Pam "Mindy" Dawber. j 
Buck Rogers' 50th Birtnday. 
Flying Model Rockets. 

No. 21— 

interview: Mark Hamitl 
Lost m Space Episode Guide. 
>ry of SF Model Kits. 

No. 22— 

Interview: Lome Greene. 

Preview: SF Fiims of 1979. 

Careers in Special Effects. 

475 Park Avenue South, Dept. S24 
New York, N.Y. 10016 



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- y 






it's 13 years since Leonard Nimoy first donned those 

pointed ears and developed the persona of Trek"'s Mr. Spock. 

And try as he may, he's never been quite aole to 

shake off the identification. 


Leonard Nimoy seems forever destin- 
ed to be haunted by the ghost of Mr. 
Spock, the enigmatic half-Vulcan, 
half-Earthling he so logically portrayed on 
TV's Star Trek. Trying to cast off the 
stereotype, Nimoy even went so far as to enti- 
tle his autobiography / Am Not Spock. 
Nevertheless, it's Leonard Nimoy, his 
pointed ears out of mothballs, who's present 
as Mr. Spock on the bridge in the upcoming 
production of Star Trek— The Motion Pic- 

During preliminary negotiations aimed at 
resurrecting Star Trek, rumors indicated that 
Nimoy, more than any other cast member, 
was reluctant to resume his Spock role in the 
film version. According to Nimoy, though, 
that just isn't so. 

"I find myself explaining this ad 
nauseam," he begins, "but I'll go over it 
briefly. It was the result of a chronological 
problem in 1977. In the summer of that year, 
having reached an agreement with Phil Kauf- 
man, who was then to direct the Star Trek 
feature, and Jerry Eisenberg, who was then to 
produce it, that we would make the film in 
January of 1978. 1 left for New York -to play 
the psychiatrist in Equus on Broadway. Just 

In the last 10 years Nimoy has done series 
TV and starred in several films and dramatic 
stage productions. Still, he is seen as Spock. 

about the time I arrived and began rehearsals, 
Paramount decided to start a Paramount 
Television Network and the flagship show of 
that network was to be a new Star Trek series. 
They wanted to start filming in September or 
October and I just wasn't available. I was 
committed to Equus. 

"That being the case, they wrote the script 
without Mr. Spock, and within four days of 
starting the filming, they changed their minds 
about the series and decided to go back to the 
concept of a motion picture. 

' ' I came back from New York in the middle 
of October, having completed my commit- 
ment to Equus, and they weren't ready. I 
went back and did Invasion of the Body 
Snatchers. When I completed that, I was 
available— and they were ready to start talk- 
ing seriously about the Star Trek movie." 

Even if the series had gone on as planned, 
Nimoy says that he's not sure he would have 
made that commitment. "I'm not particular- 
ly interested in doing a television series under 
any circumstances," he says. "No matter 
what it is. I've done two of them./n SearchOf 
is now in its third season, and I think that's 
enough. I find doing it very restrictive in 
terms of my time. I like to be free to take on a 
variety of projects rather than consistently 
doing only one role in one particular show. I 
wouldn't have been as interested in doing a 
series as I am in doing the motion picture." 
Although Nimoy has managed to avoid 
regular roles successfully, he hasn't skimped 

on the time he's devoted to single ap- 
pearances. Before creating the role of Spock 
on Star Trek, he had more than 100 appear- 
ances in television drama to his credit. And 
since the demise of the original Trek series in 
1969, he's piled up even more in the way of 
television, stage and motion pictures, in- 
cluding Equus and Invasion of the Body 

More recently, Nimoy starred in Vincent, a 
stage play he wrote based on the last 12 years 
in the life of artist Vincent van Gogh and his 
relationship to his brother, Theo. 

Prom space to spies 

After his three-year run in Star Trek, he 
jumped from NBC to CBS for two years' 
worth of Mission: Impossible, sometimes 
playing as many as four characters in a single 

He joined Yul Brynner and Richard Cren- 
na in the feature film Catlow, toured the East 
Coast starring as Tevye in Fiddler on the 
Roof, flew to London to star in Baffled, a 
movie for television co-starring Susan Hamp- 
shire, and starred in Robert Shaw's The Man 
In the Glass Booth at the Old Globe Theater 
in San Diego. 

Still, the role most people remember him 
for is Mr. Spock, and his presence on the set 
of Star Trek — The Motion Picture would 
seem to indicate that he's disinclined to fight 
the inevitable these days. 

Part of what makes Spock so memorable is 

STARLOG/yu/y 1979 67 

questions — or questions are being asked of 
him— and he's looking for very specific 
answers to those questions. And during the 
course of the story, we hope that he'll find his 

All the cast members from the original Star 
Trek series seem to agree that the old magic is 
back again. "It's even better than it was 
before, I think," Nimoy says. "We were 
under intense pressure while we were taping 
the original series. We have a more relaxed 
atmosphere now because the schedule isn't as 
restrictive. The money, obviously, is a bit 
more plentiful so we can do more of the 
things we'd like to do. We have a very relaxed 
and wise director in Robert Wise, and the at- 
mosphere is very good." 

To Nimoy, the magic began as soon as the 
cast got together for the press conference an- 
nouncing Star Trek— The Motion Picture. 

"I've been looking forward to doing this 
very much, especially since we held that first 
press conference. I had seen all the other cast 
members individually or in small groups over 
the years, but that day was the first time since 

The rumors that flew around the Trek underground before Nimoy signed to do the movie 
centered around animosity between him and the studio or Shatner. Nimoy denies it all. 

that, although he has certain strongly defined 
traits, he's always able to add the element of 
surprise— and that, to Nimoy, is one of the at- 
tributes of a good character. 

"For any character to sustain interest," he 
says, "the actor must constantly be challeng- 
ing the role. By that I mean putting the 
character into circumstances he hasn't faced 
before, finding out how he responds and 
deals with them, finding out what the fron- 
tiers of the character are— and having 
established those frontiers, trying to go 
beyond them. Not to destroy the character, 
but to keep him alive. 

"The danger is that a pattern sets in. It 
becomes successful, and you simply repeat 
the pattern over and over again. Then the ac- 
tor has no place to go and the audience has 
nothing to look forward to. People always 
want to see familiar characteristics in some- 
one like Spock, but at the same time, it's ter- 
ribly important that the character be 

Nimoy says that, while the character of 
Spock will be essentially the same, there will 
be differences as well. 

"We are doing a film which takes place- 
both literally and within the plot— several 
years since we've all last seen each other," he 
explains. "That in itself will introduce new 
characteristics. The plot specifically tells us 
that the crew has been disbanded, and 
everyone has gone their separate ways. Mc- 
Coy has gone back to Earth, Spock has been 
on Vulcan, the Captain is no longer in a com- 
mand position because he's been kicked 
upstairs into an administrative position. All 
the characters have found different places of 
their own and now, in various ways, are 
brought back to the Enterprise. That puts all 
of us in somewhat different postures. Some 
of us come back because we want to, some 
because we need to, and some come back 

against their will. So the plot of the film will 
deal with the fact that there has been a 
passage of time— just as there has been in 

Keeping Trek's secrets 

In keeping with the secrecy that still cloaks 
much of the set, Nimoy is vague as to what 
sort of changes Spock has gone through over 
the years. "Spock has gone back to Vulcan to 
do a number of things. Chief among them is 
that he's trying to find a completion of a cer- 
tain kind of personal evolution. While Spock 
is in the process of doing that, he discovers 
that there's a need for him— for his own pur- 
poses—to come back on board the Enter- 

If that sounds a little unclear, Nimoy 
refuses to elaborate much further. "By that, I 
mean that he's asking himself very specific 

In the early episodes Shatner was clearly 
the star, Nimoy a supporting character. 
Audience reaction quickly changed all that. 

From "Bread and Circuses," a script cowrit- 
ten by Gene Roddenberry and Gene L. Coon. 
In the film, Spock has matured, developed. 

the end of the series that we had all been 
assembled together in one room. I felt that 
the chemistry that day was very exciting, and 
from that day I looked forward to doing it." 

Nimoy is rediscovering the old Star Trek 
episodes these days as part of his research for 
the motion picture. 

"I've seen all the episodes, of course, and 
I've watched it on TV occasionally in the 
past, particularly if I'm traveling and staying 
in hotels while doing a play and have to work 
in the evening. I'll turn on the TV in the after- 
noon and watch an episode, particularly if it's 
one I haven't seen in awhile. 

"Now that I'm playing Spock again, it's 
occasionally useful to go back and check a 
particular episode because there was some- 
thing there that perhaps relates to something 
we're doing now, a question I might have 
about an attitude or plot point." 

Nimoy says that there is no problem work- 

68 STARLOG/ July 1979 

ing with Robert Wise on the film. Although 
Wise is new to Star Trek, Nimoy says the 
situation on the movie is really no different 
from that of the series where directorial pro- 
blems are concerned. 

" In the course of doing any given television 
series, you'll have 15 or 20 directors come 
through," Nimoy says. "Some directors will 
come through again, but even into our third 
season on the series we had new directors 
coming in to handle single episodes. It's not 
as though Bob Wise is totally in the dark as to 
what this is all about. He's seen some of the 
episodes of the series, so he obviously has a fix 
on how it will work for him and where he'd 
like to go within the structure of the concept. 

Nimoy describes the new sets for the mo- 
tion picture as "spectacular." As in real life, 
technology has progressed considerably since 
the Enterprise last saw action . And of course, 
a multi-million-dollar budget can go a long 
way toward providing more sophisticated 

"On the bridge set," Nimoy says, "we 
have a lot more control, actual physical con- 

In the episode "Mirror, Mirror," Nimoy had to play two rqles: the Spock we know and a 
Spock from a mirror-image universe. Even though the other Spock was "evil," he pos- 
sessed the same logical mind. Nimoy's subtle understanding of his character made it work. 

trol, of the equipment than we did on the 
original set. Most of what we used then was 
controlled by someone off-camera and we'd 
act as if we were controlling the button opera- 
tions. In the new sets, the people at the con- 
soles actually have control of their equipment . 
"You've got to keep in mind that this film 
started with a $15 million budget and will 
probably go well beyond that," Nimoy adds. 
"The budget of this single motion picture 
equals the cost of the entire 79 original Trek 
episodes. There is an inflation factor— prices 
are higher now — but nevertheless that gives 
you some fix on the difference in texture and 
substance in the movie as opposed to what we 
were dealing with in the television series." 

The Mysterious Character 

There is a lot that Nimoy won't say about 
the film version of Star Trek, and that close- 
mouthed attitude extends to the rest of the 

cast as well. Spock is a mysterious character, 
and some of that mystery extends to Nimoy 
also. When asked about the subtleties in 
the development of Spock 's character in the 
film, he simply smiles and says, "See the 

Nimoy says that his work in Body Snat- 
chers and Star Trek doesn't necessarily signal 
a return to films, any more than Equus indi- 
cated a "return" to the stage. He never left 
either area of acting in the first place. 

"I go where the good material is," Nimoy 
explains, "where the interesting project is. It 
doesn't really matter to me how much of each 
thing I do. There's no point in my life where I 
say, 'I will now do a play' and then go look 
for one. I choose based on the material and 
opportunities that come to me. If there are 
interesting opportunities in the theater— 
which there sometimes are — I go do those. If 
there's an interesting film to be done, I'm 

Left: From Harlan Ellison's Emmy-winning 
script, "City on the Edge of Forever." 
Spock builds a 23rd century device using 
the most primitive materials; his success 
was never in doubt. Below: A quiet moment. 
Nimoy's portrayal of the half-human, half- 
Vulcan is one of Trek's main attractions. 

happy to do it. It's the material that attracts 

Nimoy's interests aren't limited to the per- 
forming arts, either. Besides his autobio- 
graphy, / Am Not Spock, he's done two. 
others — You and I, a love story told in poetry 
and photography, and Willi Think of You, 
an anthology of poetry and photographs. 

In between writing and acting, he also 
manages to find time to lecture at universities 
throughout the United States and Canada, 
speaking on science fiction, reading and dis- 
cussing his poetry and talking about the 
entertainment business. Some of Nimoy's 
black-and-white photographic studies, in 
which he specializes, have been displayed in 
various exhibits. 

Despite his burgeoning career before the 
advent of the Star Trek series, some have sug- 
gested that much of Nimoy's current success 
in writing, television, films and stage is due to 
his popularity as Spock. Nimoy dismisses the 
question entirely. 

"I try not to worry about success — do you 
know what I mean by that? If things are go- 
ing well I try to concern myself with doing my 
job rather than examining why things are go- 
ing well. I haven't the slightest idea if that has 
anything to do with it, frankly. My concern is, 
do I have interesting work to do? Do I do it 
well? As long as those things fall into place, 
let other people decide why I'm getting the 

Despite Nimoy's attempts in the past to 
separate Leonard Nimoy, actor, from Mr. 
Spock, Vulcan, here is Nimoy on the set, once 
again accepting the lure of a challenging 
role — and he's very emphatic about the fact 
that he still finds Spock a challenge, and an 
interesting one. 

"I wouldn't be here doing this if I didn't 
feel that way," he says. "I really would not." 
Has Spock become in some ways an easy 
role for him to do? 

"Anyone who believes that should see the 
movie and then decide whether it's easy or 
not," Nimoy says. * 

STARLOG/ July 1979 69 

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Stalking the 
Wild Saucer 


Hendry's statistical analysis of over 1300 UFO sightings 
shows that nearly 89% can be conventionally explained. 
The photos on this page remain unexplained. Top: One of 
six photos taken by a professional photographer of a 
"saucer" sighted over Trindade Island, near Brazil. 
Above: A physical trace left by a rotating dome, seen 
taking off by a Saskatchewan farmer. Above right: An 
ascending nocturnal light sighted over Fargo, North Dakota 
Right: The "Lubbock lights" of Texas are still unexplained. 

72 ST ARLOW July 1979 

iemember that cigar-shaped object 
' that you sighted last year? The one 

i.that everybody said was the 

Goodyear blimp? Well, it's summertime 
again— prime time for saucer sightings 
—and this year you're ready with a small 
fortune in camera equipment. But are you 
acquainted with the proper procedure for 
photographing UFOs? Allan Hendry, an 
associate of Dr. J. Allen Hynek at the 
Center for UFO Studies of Northwestern 
University, spells out the rules for shooting 
saucers in the The UFO Handbook, to be 
published by Doubleday this August. From 
that book, here are the steps required to 
assure that your photos will he acceptable as 
evidence of a close encounter. 

At the Site 

1) Three out of four UFO pictures are 
taken of lights at night. Do not expect simple 
cameras with daylight films to capture an 
image of such lights unless they are extreme- 
ly bright. Shooting with a flash is useless 
unless the target is visible by reflected light 
and is nearby. Ask yourself (as a test) 
whether your current setup could photo- 
graph regular aircraft lights well at night. 

2) Hold the camera firmly against 
something to steady it, if you can. Don't set- 
tle for only one picture if it can be helped. 
The world will call it a fluke in development. 
If the UFO is stationary, run to another van- 
tage point and shoot from there. Mark the 
two separate locations you shoot from with 
stones, and the distance to the UFO can later 
be triangulated (as well as its size). 

3) In all shots, try to include foreground 
and background landscape objects in the 
composition. The importance of establish- 
ing a relationship between the UFO image 
and the environment can, under instrumen- 
tal photo analysis, become an important 
factor in determining the object's distance 
from the camera and its size. 

4) Above all, scream for additional 
witnesses to see both the UFO and you tak- 
ing pictures of it. Don't be embarrassed; it 
will be more embarrassing later trying to 
convince others that you photographed the 
UFO honestly. If you don't know the peo- 
ple, get their names and phone numbers 
(promise them a print of your pictures!). 

Later Precautions 

1) Keep the negatives — it may surprise 
you, but prints are less important than 
negatives as evidence. Prints are one genera- 
tion removed from the image quality of the 
original negatives. 

2) Make a note of the type of camera you 
employed to take the pictures. If the camera 
uses interchangeable lenses, note the focal 
length of the lense, " f " ratio and the manu- 
facturers name. 

3) If shutter speed, "f-stop" range and 
focus are adjustable, note the settings used. 

4) Note the type of film used. Was it old 
or new? Did you use a tripod? Flash? Filter? 

5) Important: Note the directions and 
angles you pointed the camera toward for 
each shot taken. Also measure the distance 
from the places you stood to some fixed ob- 
ject that will appear in the pictures. * 

This photo of two 
flying objects was 
taken, using time 
exposure, by a 
Michigan police 
deputy and appeared 
in newspapers 
across the country, 
as a credible UFO 
case. Later 
proved the "UFOs" 
to be the crescent 
Moon and Venus. 

Proof that a UFO picture is only as meaningful as the documentation surrounding it. 
This picture, studied by the Air Force and unexplained for years, was a favorite 
of saucer enthusiasts for years until the two boys who took it wrote the Center for 
UFO Studies, stating that it was a hoax based on a home-built model saucer. 

Left: Photo of a lenticular (lens-shaped) cloud. 
These are often seen over mountainous regions 
and are most saucer-like when seen "frozen" by 
a still camera. Above:Cloud created by a NASA 
atmospheric test launch. Designed for high 
visibility, these glowing, zigzag trails 
can be visible over a wide region. 

STARLOG/./u/y 1979 73 

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Mail to: 

Subscription Department =S1 79 

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A subscription for 4 issues ot VIDEO is $6 and as a bonus we'll send you the 
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IF YOU subscribe to 
VIOEO Magazine today, 
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VIDEO Buyer's Guide as a 
free gift when It's publish- 
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don't get closed out ot this 
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(print clearly) 

Name . . . 
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.State Zip 



Above: Wicker 
Man producer 
Robin Hardy, 
Chris Lee, 
Mitch Harding 
and Mike 
Hodel in KPFK 
Right: Hodel 
and Harlan 
Ellison with 
Hour 25's 


With the popularity of science fic- 
tion rising steadily and rapidly 
everywhere, it follows that there 
should be more and more of it on the 
original medium of mass communications, 
radio — and there is. 

It is increasingly common to hear 
transcriptions of SF drama from the 40s and 
50s, interviews with literary and motion- 
picture personalities of SF, readings of SF 
classics and dramas on both AM and FM— 
even in stereo— all across the nation. 

There is one program that features all of 
these excursions into SF on a regular basis. 
This program — a pioneer in science-fiction 
format— is Hour 25 aired on KPFK in Los 

Heard every Friday night from 10 till mid- 
night, Hour 25's scheduling is far from op- 
timal. "But everytime I think of complain- 
ing about our time slot," says Mike Hodel, 
creator of the show, "I think of the only 
other show I know of Xhat was similar to 
ours — Hour of the Wolf in New York. It used 
to be on WBAI-FM from 5 to 7, each Thurs- 
day morning." 

Optimal or not, Hour 25's time slot does 
capture an audience of 50,000-plus loyal LA 
listeners, and more through syndication 
over Pacifica, a nationwide network serving 
community radio stations. 

Hour 25 was born in 1972, a few years 
prior to the current SF boom, when Mike 
Hodel, the station's public affairs director, 
radio producer Terry Hodel (Mike's wife) 
and station engineer Mitchell Harding 
rallied around Mike's idea to produce a 
science-fiction radio talk show. 

Grok Around the Clock was an early pro- 
posal for the show's title; Future Schlock 
was another. 

"We argued about the name on the air," 
Mike relates. "Finally," says Terry, "we 
asked our listeners for suggestions." At the 
time, the show began at midnight, so when a 
listener wrote in suggesting Hour 25, the title 
seemed ideal. Though the show now airs 
earlier, the title remains appropriately eerie. 
"Our audience knows everything," Mike 
Hodel states flatly. ' 'We have one feature we 
call the Group Mind. If we can't find an 
answer, we ask our listeners. We recently 
asked if anyone knew Buck Rogers' real first 
name and had the answer within minutes." 
(By the way, the answer is Anthony.) Hour 
25's Group. Mind will also occasionally par- 
ticipate in a Mass Review of a new book, 
movie or TV show. "We had an inadvertent 
Mass Review," says Hodel, "when Bat- 
tlestar Galactica premiered. Our guest that 
night was Robert Bloch, who was fasci- 
nating, but the only thing listeners called in 
to discuss was Galactica." 

Many Hour 25 evenings revolve around 
an interview. The show's first live guest was 
Theodore Sturgeon, and a host of SF greats 
have followed since, including Ray Brad- 
bury, Philip K. Dick, Robert Silverburg, 
Frank Herbert, Fritz Leiber, Marion Zim- 
mer Bradley, Larry Niven, Frederick Pohl 
and starlog's own David Gerrold. 
Originating from movietown, Hour 25 
often features chats with the great SF film- 
makers, including Gene Roddenberry, Gary 
Kurtz and Ralph Bakshi, and film stars like 
John Agar and most of the Star Wars cast. 
When there's no guest in the audio 
spotlight, Hour 25 often presents dramatic 

readings by Harding or Hodel, or full-scaled 
dramatizations with sound effects and 
music— as they did with Food of the Gods 
and Riders of the Purple Wage, ' 'which had 
Ted Sturgeon and Harlan Ellison in the 
cast," recalls Hodel. 

' 'One of our most exciting evenings,' ' says 
Terry Hodel, "was when Harlan Ellison 
wrote a story on the air." As an exercise for 
the Group Mind, Ellison asked listeners for 
story ideas. One of the notions appealed to 
him and he built a plot around it. It appears 
as "Hitler Painted Roses"' in Ellison's an- 
thology, Strange Wine. 

Mike and Terry agree that their most 
troublesome show was on the night that 
Mark Hamill and Harrison Ford came to 
talk about Star Wars, a week or two before 
the film was to open. 

"How can we put this gently?" Terry 
muses, though Mike puts it bluntly, "They 
were sloshed. This was apparently their first 
public appearance for Star Wars, and they 
were nervous." 

"Poor Mark Hamill," Terry says, shak- 
ingherhead. "He's always charming, andat 
least he was sober enough to talk. So we 
directed all our questions about the film to 

"But Hamill wanted to be fair to his 
friend," Mike adds, "so when we'd ask 
Mark a question, he'd turn to Ford — who 
was totally out of it — and say, 'What Aoyou 
think, Harrison?' " 

Mitchell Harding, the third host of the 
show, describes his radio persona this way: 
"I'm the advocate of the real world. I re- 
mind our listeners that science fiction is not 
everything, and that they're all more conser- 
vative than they think they are." But Har- 
ding is as much a devotee of the genre as the 
Hodels are. 

A listener never loses sight of the fact that 
Hour 25 is a show for, and by, discrim- 
inating consumers of the fiction of science, 
mind, imagination and the future. * 



Salute to 


As proud as we are of the dramatic progress STARLOG has 
made during its first three years of publication, we realize that 
without you, the dedicated readers and SF fans, it would not 
have been possible. And so we are pleased to share with you 
some of the congratulatory messages we've received from people who 
make science fiction live: the writers, directors, actors, artists, effects 
people and producers. We hope that you enjoy them as much as we have. 







-fp S7Z>s&l4><i- - 


uoeet- 70 Cet«^ , 

(Producer/ 'director; 
When Worlds Collide, 
The Time Machine, 
War of the Worlds; 

Happy birthday and 
many more to come. 


(Actress; Mission: Impossible, Space 1999) 

Happy Birthday starlog! With best 
wishes for the future. >— ^ 


(Science fact, SF 
author; I, Robot, The 
Foundation Trilogy, In 
Memory Yet Green, 
Opus 200; 

starlog, with three 
years behind it, is a lus- 1 
ty young giant, sym- 
bolic of the new stature I 
of science fiction in the [ 
visual media. May you 
and SF continue to grow and may humanity 
enter a good science-fictional world of space 
exploration for a growing and united world. 


76 STARLOG/./u/)' 1979 


(Matte artist; Star Wars, 
Cat from Outer Space, 
The Black Hole; 

Man's imagination 
will always be a source 
of his greatness. Con- 
gratulations to 
starlog; may it con- 
tinue to celebrate our 


(Makeup artist; 
Gargoyles, assisted) 
Thanks must go to 
the fans, like myself, 
who grew up with 
science -fiction films 
and stories as a main 
staple of our growth. 
Without us, there would be no CE3K or 
Star Wars to entertain and teach us. No arts 
to help us rise above the realities of life in 
order to survive and to use our immagina- 
tion to change the future in the instance of 
the present. The fan who buys this 
magazine or buys a ticket to see an SF film 
is certainly paying the artists who put it 
together. It is all made for your enjoyment. 
So, enjoy. 


Mainstream and 
sometime SF author, 
raconteur, winner of 
awards and controver- 
sial cult personality; 
City on the Edge of 
Forever, The Glass 
Teat, Repent, Harele- 
quin! Said the Ticktock Man.) 

starlog deserves to flourish. Not 
because you run pretty photos of multi- 
million-dollar Hollywood hardware epics — 
hell, every halfwit newsstand publication 
from Time to TV Guide wastes space like 
that. No, you deserve to live high and fully 
and to a ripe old age because you perceive 
the Universe as being greater and nobler 
than a Burbank Studios soundstage. You 
view all this flummery and slambang sopho- 
morism with a clear eye and a rational 
nature; and you understand that it is possi- 
ble to draw in the naive and the innocent 
with the pretty pictures, and enrich them 
with an introduction to their own potential 
for greatness and godhood through achieve- 
ment and imagination. You deserve praise 
and support because you fight the good 
fight, trapped between your own lofty 
ethics and your need to purvey cheap thrills 
to get their attention. It cannot be an easy 
task . . . and I applaud you. 


(SF author, science-fact 
writer, screenwriter; 
Childhood's End, 2001: | 
A Space Odyssey, The 
Fountains of Paradise^ 

I'm still in a daze this | 
morning having just 
spent two hours on the 
phone with Carl Sagan, 
Ray Bradbury and the 
Voyager team, as the 
closeups of Jupiter ar- 
rive at J.P.L. in 
Pasadena. Now there's\ 
some spactacular art- 
work for you to publish and, I suspect, 
where the action is in the centuries to come. 
Best wishes to starlog. 


(Author, starlog columnist, screenwriter; 
Deathbeast, "Trouble with Tribbles" 

I think I have figured out the secret of 
starlog — this is the magazine that Kerry 
O'Quinn, Howard Zimmerman and Nor- 
man Jacobs all wished for when they were 
13, only there was no one publishing it yet, 
so they had to grow up to do it themselves. 
I think it must also be the magazine that I 
used to wish for when I was 13, and that's 
why I twisted Kerry O'Quinn's arm to let 
me be a part of it. I'm pleased and proud to 
have played even a small role in starlog's 


| (Actor, stage and 
screen; Mr. Spock on 
Star Trek, Invasion of 
the Body Snatchers, 
starred on Broadway in 
I Equusy 

Happy Anniversary! 
1 Live long & prosper, 


(Miniature designer, 
founder of Brick Price 
Movie Miniatures; 
Star Trek — The Movie, | 
Project UFO, The 
Shape of Things to 

I'm happy to see a 
class publication like 
starlog make inroads 
into a mass market. 
For years I've been saddened by the general 
public's opinion that all science fiction is 
related to bug-eyed monsters, and the fact 
that we're never taken seriously as an art 
form. My company, Movie Miniatures, has 
grown at the same staggering rate as yours. 
It's a good sign, because the quantity of 
great films should finally offset the negative 
impact of poorly executed "me-too" films. 
I love science fiction and would be doing 
this for the hell of it if I couldn't get paid. 
But don't tell anyone — you'll spoil a good 
thing. Best of luck, 




{Actor; Lt. Sulu in Star 
Trek, The Green Berets> 

Touche starlog! 
May this fourth birth- 
day be just the first 
stage of many star years 
of logging your galactic 



(Actor; Mission Im- 
possible, Space: 1999, 
Meteor, The Number) 

To all the gang at 
starlog— Congratula- 
tions on your birthday. 
The magazine continues 
to be the very best of its 
kind in the country — in 
the world for that mat- 
ter. Perhaps even the 
Universe! Keep up the 
good work. 




(SFX artist; Space: 
1999, Alien, The 
Empire Strikes Back) 
Congratulations on 
your third birthday 
and every success 
for the future. 


(Producer, art director; 
UFO, Thunderbirds, 
The Day After Tomor- 
row, Supercar> 

Being connected with 
sci-fi design for film as 
well as production, I ap- 
preciate starlog very 
much. It's a first-class 
journal in every way. 
Happy Birthday, 


(Makeup artist; 2001: 
A Space Odyssey, Dr. 
Strangelove, Star Wars, 
The Empire Strikes 
_ Back, Superman,; 
Congratulations on your outstanding 
success and may you continue to find such 
intellectual and appreciative readers. 
Many happy returns. syY) 


(Modelmaker, SFX ar- 
tist; Man from Atlantis, 
Land of the Lost, 

Happy birthday 
starlog and con- 
gratulations on your ex- 
cellent coverage, attrac- 
tive format and 

v$K , 

{Astronomical artist; Editor o/Space Art; 

Congratulations on the birthday of 
STARLOG^-the first magazine in decades to 
be so successful in educating the public in 
astronomy and the aerospace sciences. Best 
Wishes for a long life, 


(Secretary to Gene Roddenberry; starlog 

Congratulations on beginning STArlog's 
fourth year of publication! One of the 
reasons that Star Trek has continued to be 
so popular is the coverage we have been 
given in starlog all these years— and I'm 
delighted that my column has been just one 
part of that. May starlog keep on trekkin' 
until the 23rd century! 


(Astronomical artist, 
matte painter; When 
Worlds Collide, War of 
the Worlds, Destination 

This lively publication 
appeals to your young 
adult science-fiction and 
movie buffs, and you 
are to be congratulated 
upon entering your 
fourth year of publica- 
tion. Good Luck! 


(SFX artist, miniature explosions; Flesh 
Gordon, Star Wars, Vortex.; 

To the friends and fans of starlog, my 
sincere best wishes for a happy anniversary. 



(SFX artist; Space: 
1999, Alien, The 
Empire Strikes Back; 
Happy Anniversary 
to a very "readable" 
magazine. May the 
Force be with you. 
Kindest Regards, 
Brian Johnson 
and the Star Wars ef- 
fects units in the U.K. 
and U.S. 

£— > 


(NASA consultant, 
science adviser to Star 
Trek— The Movie) 

Your success in your 
three years of ex- 
istence tells me there's 
hope for space. 
Why? Science fiction 
is one device which 
may help "concretize" 
the future in 
people's intellects. I'vealways felt that it 
can heighten our awareness of our own 
futures and the future of all humanity. 
From that point when science fiction gets 
the reader to recognize that it's not enough 
to "ask what the future will do to us," but 
that we must "ask what we can do to the 
future," it's no longer mere escapist 
literature but is enobled with an obligation. 
And if, at the same time, it's served up with 
flair and provides fun and entertainment, 
so much the better. 

starlog is that and has that and does 
that, and its success proves it right. Con- 
gratulations, starlog, here's to you and to 
the future. . .and keep it up! 





(Literary agent, 
editor of Famous 
Monsters of 
Filmland, curator 
of SF museum) 
starlog! future life! 
Where were you 53 
years ago when I needed you! (I began 
reading "scientifiction" in 1926 and noting 
"scientifilm"— Metropolis and The Lost 
World— around the same time. Thanks 
(Forvala-Shantel-Dankon) to your readers 
for contributing to the care and feeding of 
the hungry white dinosaur: my sci-fi 
museum. Your publications are preserved 


/£*£*<& -rJ\c*&R^i^ 

78 STARLOG/ July 1979 


(Producer/writer/creator/director; Space: 
1999; UFO, ThunderbirdsJ 

A great big "Thank You" to all the staff 
at starlog and future life for their im- 
portant contribution to science fiction, and 
a special "Thank You" to my very good 
friend, Dave Hirsch. 





(Makeup artist; Little Big Man, The Exorcist^ 
You're aging nicely! 



(SFfilm producer/ 
director; produced Star- 
crash, a.k.a. Adven- 
tures of Stella Star, 
under the name of 
Lewis Coates) 

I have always been a 
faithful starlog reader 
even before writing and 
directing my film, Star- 
crash. I am an avid fan 
of all your publications 
and Armando Vacanda, 
special-effects man for 
Starcrash and The 
Humanoid, is too. 
Therefore, we do wish 
you a very long life! 
Happy birthday 

sIaM^n V^T^ 

(Astronomical artist, 
cinematic pre- 
produciton artist) 

What can I say? You 
guys put me on the 
map. May all your 
enterprises prosper. 




(Creator/Producer; Star Trek, The Questor 
Tapes, Genesis II> 

May starlog go as far in its next 30 
years as it has come in the last three. I have 
both enjoyed your magazine and profited 
from the information and entertainment it 




(Film Editor, assistant monster maker, ac- 
tor; "Tracy the Gorilla" in Ghostbusters, 
Further Adventures of Major Mars, It Cou- 
quered the Worlds 

Congratulations! For being only three 
little years old, you've grown pretty tall for 
your age. Small wonder, with the classy way 
you present science-fiction entrepeneurs and 
their activities to the serious science-fiction 
enthusiast. I'm especially proud that you 
chose to share the live visual effect ex- 
periments of my friends and myself with 
your distinguished audience in "Hollywood 
Halloween" (starlog #18). You've forged 
the way! You've brought dignity back to 
science fiction and re-ignited active interest 
from the thinking community. I'm honored 
to add my best wishes for continued success 
as you forge ahead! 
Happy Birthday, 




Happy AiuuvtAiaxul Knd wait STXRlOG 
continue until and otuond uk nave txptottd 
tkt (uftZkut \tachti o{ the uxivtxtt. 


(Artist, author; creator 
of The First Kingdom^ 
Happy Anniversary! 
And may starlog con- 
tinue until and beyond 
we have explored the 
furthest reaches of the 


(Actor; Darth Vader in Star Wars and The 

Empire Strikes Back) 

starlog: May the force be with you! 

— -13°**- now 


(Owner, distributor; 
Man from Planet X, 
Rocketship X-M, In- 
vaders from Mars> 

A toast to Kerry • 
O'Quinn, Norman 
Jacobs and the starlog 
crew for their 
"historic" contribution 
to the science-fiction 


STARLOG/y«/v 1979 79 

Starlog Goes Japanese 

starlog now has a very special Japanese 
language edition, chock-full of rare color stills and 
Japanese SF news. STARLOG, published in a for- 
mat you've never seen before, features bold Japa- 
nese graphics, with fantastic full-color, pull-out 
posters in every issue. Packaged in a plastic, 
laminated cover, the Japanese starlog is a visual 
treat for all SF collectors and enthusiasts. 


A limited quantity of the Japanese starlog, 
issues No. 1-7, has been imported for U.S. fans. The 
premiere issue features STAR WARS and inlcudes 
a double poster featuring Wonder Woman and a 
full-color spread of 62 SF film posters from the col- 
lection of Forrest Ackerman. Issue No. 2 highlights 
science-fiction television and focuses on STAR 
TREK, with a starship Enterprise poster and blue- 
print details. Issue No. 3, the special-effects issue, 
contains a combination color poster of a planetary 
landscape SPACE: 1999 Eagle 1 blueprint and SF 
graphic catalogue spread. No. 4, the Gerry Ander- 
son Supermarionation issue, contains (2) triple 
pull-out posters filled with Shusei Nagaoka art- 
work, X-wing Fighter blueprints, Godzilla anima- 
tions and Thunderbirds Are Go! model poster. No. 
5, the Superman cover issue contains a triple, fold- 
out poster of Superman in flight. The issue 
features original science-fiction and comic art- 
work from Japan and other parts of the world. Also 
included is a preview section on the Japanese ver- 
sion of the Starlog Photoguidebook to SPACE- 
SHIPS. No. 6, the cover and triple, fold-out poster 
inside features Wonder Woman in dazzling full- 
color, but there's much more: 18 page 'Horoscope' 
section— a Japanese guide to well-known crea- 
tures; fantastic SF artwork of Godzilla and space 
travel; the Japanese history of robots. No. 7, the 
Star Hawks cover is the introduction to the most 
Japanese influenced issue, yet. Much of the con- 
tents has never before appeared in the US. Also in- 
cluded is Forry Ackerman's SF souvenirs double 
Frank Frazetta fold-out, full-color photo collages 
and other visual treats. 
Mall to: starlog Magazine Dept. S-24 
Send for your Collector's issues now. These high- 
quality, special import editions are available on a 
first-come, first-serve basis. Send $9.99 per issue 
plus postage. 


Salvage I 





Posterbook No. 3 

— Three Superhero 
pin-ups: Hulk, Wonder 
Woman, Superman! All 
new Body Snatchers. 
New Buck Rogers, 
Spider-Man; Mandrake, 
Message from Space, 
Battlestar Galactica. 

Posterbook No. 1 

—GIANT Color Fold- 
out Poster of Space- 
shipsfrom Project UFO. 

ACTICA"— Behind-the 
scenes photos. 
HULK"— pix and story. 


Each posterbook, $1.50 plus 

Sorry, Posterbook No. 2 is SOLD OUT. 



The definitive guide to "Space: 1999." A handsome, 
vinyl binder with emblem on the front. Removable 
pages are organized in military fashion and in- 
clude data on the Commlock, Stun Gun, Laser 
Cannon and fold-out blueprints of Alpha. A person- 
nel section has photos and bios of Commander 
Koenig, Helena Russell, Victor Bergman, Alan Car- 
ter, Tony and Maya. Also a Timeline and Episode 
Guide section. Compiled under the supervision of 
STARLOG editors and written by David Hirsch, 
drawn by Geoffrey Mandel. This limited edition 
(each registered to the owner) is the only version 
approved by Gerry Anderson prod, and ITC. Only 
$9.95 plus postage. 

SPACE: 1999 


•SPACE: 1999" Eagle transporter fold-out 
sheet from STARLOG No. 7— $2.00 (add 
$1.00 1st class postage). Limited number. 






An extra-value import! 

The all NEW War of the Worlds posterbook! Every 
SF lover will relish this full-color British poster bas- 
ed on H.G. Wells' classic tale! 
Each copy includes: 

A full-sized, foldout Martian war machine poster! 
Exclusive blueprints of the Martian machines! The 
behind-the-scenes story of the new War of the 
Worlds LP! Tales of Martian Menace from Wells to 
Only $2.40 + postage 

80 STARLOG/ July 1979 

Yes, that's what everyone said at the latest conven- 
tion when they saw our NEW Official starlog 
Spaceshirt. You see, we returned to our original 
"eclipse" design (the symbol of starlog), but we 
created new artwork, a new printing process and a 
higher-quality 100% cotton T-Shirt. The result is 
the sharpest look when you're in the mood for the 
most fun! The starlog logo is a bright color, the 
corona is a bright white and the Spaceshirt back- 
ground is jet black. Order yours today . . . and stay 
sharp, kid. 

$5.95 + postage 


This beautiful piece of 
jewelry is an authentic 
sculpture of trhe Enterprise 
cast in pewter. Complete in 
tiny detailing (blueprint 
accuracy) and nickel plated 
to a high silver lustre, this 
unique pendant will let the 
world know that you are a 
Star Trek fan. It comes 
complete with 18" silver- 
tone chain. 

$4.95 + postage 


A polished silver jewelry pin that shines like a star 
and symbolizes two different things: first, the "SF" 
tells the world that you are a science-fiction en- 
thusiast, and second, the design is composed of 
the "S" from starlog's logo and the "F" from 
future life's logo. Together these two letters 
symbolize the wonderful world of science fiction 
\ j and fact. Join the "SF" 

crowd— the most exciting 
individuals on our planet! 
(shown actual size) 

Only $4.98 + postage 


... as you've never heard him before. Hear Spock 
log all-new TREK adventures. Listen to TV's most 
logical character sing some of Broadway's most 
beautiful tunes. This rare, out-of-print 2-record 
album is no longer available in stores. Special for 
starlog readers. 


+ postage. 


Available only through this ad . . . 

"Reaching For The Stars" 

(cover of FUTURE #3) Painted by BORIS Repro- 
duced in FULL COLOR on high-quality glossy 
paper, rolled (unfolded) in mailing tube, giant size: 
approximately 30" x 40" with white border, 
suitable for framing, 
only $5.00 + postage. 




For Boris fans, collectors and art enthusiasts, we 
have arranged for a limited quantity of these two 
beautiful special edition publications featuring the 
sketches and paintings of this talented artist. Book 
I incudes an interview, an index to his book covers, 
posters and a super collection of black and white 
reproductions of his paintings and original pen 
and ink sketches. Book II features an expanded 
collection of the best of Boris. This special book 
has a full-color cover and is filled with fantastic 
full-color illustrations throughout. Both books 
have a limited press run and will not be mass- 
distributed to regular bookstores. BORIS BOOK I, 
$5.00; BORIS BOOK II, $7.95 plus postage. 

Famed Fantasy Artist BORIS 
Creates His First., Children's 



Stereo Views is a new exciting book which con- 
veys humorous and important experiences In 
3-dimensional photography. Delight as objects 
seem to jump off the page and pictures pulsate 
with illusionary spaces. The selected 34 ex- 
amples of this unique art form are from private 
collections and public resources. There is an ex- 
planation of stereoscopy and detailed notes for 
each picture. Two pairs of quality viewing 
glasses are attached inside each front cover. 
$5.95 + postage 

rMail to: starlog Magazine 
Dept. S-24 
9 475 Park Avenue South 


hardcover with color jacket 

Just published: A new kind of children's book— a 
20th-century space fable, featuring Alo, a cour- 
ageous boy hero. This endearing picture book, 
printed in vivid 5-color process, is masterfully 
inllustrated by Boris Vallejo. Author Doris Vallejo 
weaves a galactic adventure to fire every young 
imagination. . .destined to become a children's 
classic. $5.95 + postage. 

New York, NY 10016 

Please send me the following Items: 

□ Posterbook1,$1.50 + 55t postage. 
D Posterbook 3, $1.50 + 55« postage. 
D Posterbook 4, $1.50 + 55c postage. 

D STARLOG T-Shirt, $5.95 + 55« postage. 

□ Tech Manuel, $9.95 + $2.00 postage. 

□ Boris Poster, $5.00 + $1.00 postage. 

□ Boris I Book, $5.00 + 50* postage. 

□ Boris II Book, $7.95 + $1.05 postage. 

D War of the Worlds, $2.40 + 60« postage. 

□ SF Pin, $4.98 + 50« postage. 

D Starship Pendant, $4.95 + $1.25 postage. 

□ Nimoy Record, $7.50 + 75« postage. 

□ Boris children's book, $5.95 + $2.00 

□ Stereo Views, $5.95 + $1.25 postage. 

■ Total amount enclosed $ 

■ Name 

■ Address , 

| City 



State . 

ct a di r\r\ / i.. i.. 

A cloak-and-dagger tale 

that borders on space opera— 

and the biggest Bond vet! 



The opening scenes in the newest 
James Bond film feature the sterling 
effects photography of Derek Med- 
dings, as a NASA space shuttle is hijacked in 
mid-air. It's this brief and spectacular se- 
quence that announces that, no matter how 
many James Bond pictures you've seen, 
Moonraker holds more than a few surprises. 
In Moonraker, the eleventh film of the 
series based on the works of the late Ian 
Fleming, Bond (Roger Moore, in his fourth 
appearance as the British super-agent) is 
given a particularly sensitive assignment. 
The American space shuttle, Moonraker, 
briefly on loan to the British, has been 
stolen. The U.S. government is understand- 
ably upset, and Britain's top-secret 
operative, 007, has but one imperative— 

to find the missing shuttle. 

Learning that the craft had been 
manufactured in California by an American 
multi-millionaire with an unreasoning pas- 
sion for the exploration of space, Agent 007 
takes the very next flight to Los Angeles. 
Upon his arrival, he is guided to the estate of 
Hugo Drax (Michael Lonsdale) by the beau- 
tiful Sylvie Dufour (Corinne Clery), a pilot 
in the service of the Drax Corporation. 

As the Drax helicopter approaches the 
vast estate, Bond is treated to a series of im- 
pressive sights— the industrial complex 
where the shuttles are manufactured, an 
elaborate French chateau which is the home 
of Hugo Drax, and an astronaut crew, ob- 
viously chosen for their physical perfection, 
training on the grounds of the estate. 

Above:From this orbiting den of iniquity, a scheme is launched that could change the destiny of humanity. ^ space station^ model is approx- 
imately 13' in diameter. The Moonraker models ranged widely in size, including a 5' model used for lift-offs and two 6 models 
Right: Shuttle stowaways Bond and Holly entering the station in the uniform of the Drax aeronautical team. 

82 STARLOG/ July 1979 

As in all Bond films, 007 first encounters 
the villain in his own den, where Drax 
amuses himself by playing Chopin on his 
grand piano, flanked by his two vicious 
guard dogs. After the meeting, in which a 
polite formality thinly disguises their mutual 
antipathy, Bond is sent to tour the grounds 
with the attractive and erudite Dr. Holly 
Goodhead (Lois Chiles), while Drax lives up 
to his villainous manner by dispatching 
henchman Chang (Toshiro Suga) to deal 
with "Mister Bond." Needless to say, 
repeated attempts on Bond's life don't even 
affect his British calm or his sense of humor. 
That evening, as the others sleep, Bond 
enlists Sylvie DuFour in his cause and ob- 
tains access to some cryptic diagrams from 
Drax's safe. 

The Drax papers lead Bond to Venice, Ita- 
ly, where he is surprised by the presence of 
Dr. Goodhead. Holly and Bond are soon 
allied, as the dimensions of Drax's destroy- 
the-world-to-save-it scheme are unravelled. 
After a failed attempt to nip the forces of 
evil in the bud, the trail leads Bond to Rio de 
Janeiro, to Drax's space complex hidden in 
the Central American jungle, and finally to 
outer space. 

That's the story— without giving away 
any of Moonraker's most exciting se- 
quences. Even Richard Kiel, in a repeat per- 
formance of his Jaws role from The Spy 
Who Loved Me, has a few surprises for 
Bond followers as he reaches a new stage in 
the history of his malevolence. Bond and his 
various foes and amours remain in the Flem- 
ing mold (after all, why tamper with suc- 
cess?), but new scope is brought to the 007 
legend via the ever-present scientific hard- 
ware, fantastic sets and, most of all, the 
spectacular special effects. Though some 
filmgoers might find the greatest spectacle in 
the 16-member astronautical crew, men and 
women cast from the portfolios of Europe's 
top modeling agencies, SF fans will be ogling 
Ken Adam's sets as they wait with bated 
breath for the film's shattering finale. In the 
closing sequences, Bond, in the company of a 
couple of surprise allies, meets Drax and his 
henchmen in a cataclysmic laser battle in 
space orbit. 

As can now be seen in some of the 
Moonraker trailers featuring space battle 
scenes and a brief view of Drax's orbiting 
space station, these effects are fantastic in- 
deed, certainly up to the high standards set 
by Meddings in his past achievements 
— SFX for various Gerry Anderson produc- 
tions, including Space: 1999, as well as the 
last Bond film, The Spy Who Loved Me, 
and his Oscar-winning effects for Super- 
man — The Movie. 

Moonraker is the first adventure film 
designed to please the non-SF filmgoer as 
well as the fans of space fantasy, and its 
multi-million-dollar budget, as well as the 
track record of the past Albert Broccoli- 
produced Bond films, assures a healthy box 
office. But whether this means a new trend 
toward SF elements in mainstream films 
won't clearly be seen until long after 
Moonraker takes off. + 

84 STARLOG/y«/>> 1979 

Above: One of Ken Adam's most elaborate sets, Drax ground control, under 
tion at Pinewood Studios. Below: Unaware of Bond's presence in the station 
prepares to implement his design of conquest. 




A United Artists film. 1979. Color. An 
Albert R. Broccoli Production. Director: 
Lewis Gilbert. Executive Producer: 
Michael Wilson. Associate Producer: 
William Cartlidge. Original Screenplay: 
Christopher Wood. Production Designer: 
Ken Adam. Visual Effects Supervisor: 
Derek Meddings. Director of Photog- 
raphy: Jean Tournier. Music composed 
by: John Barry. Technical Consultants: 
Eric Burgess and Harry Lang. Stunt Ar- 
ranger: Bob Simmons. Makeup: Monique 
Archambault, Paul Engelen and Pierre 
Vade. Based on the book Moonraker by 
Ian Fleming. Bond Roger Moore 

Holly Goodhead Lois Chiles 

Drax. Michael Lonsdale 

Jaws Richard Kiel 

Ms. Defour CorinneClery 

Chang ToshiroSuga 

M Bernard Lee 

Q Desmond Llewelyn 

Moneypenny Lois Maxwell 

FrederekGray Geoffrey Keen 

Top: Bond faces Drax henchman Chang in a martial arts duel in an Italian glassworks 
museum. Center: Hollywood muscleman Richard Kiel appears in a return engagement 
as the unstoppable Jaws. Bottom: No harnesses or nets were used for this particular 
stunt, one of many arranged by stunt veteran Bob Simmons. 

STARLOG/Vu/y 1979 85 


pray you Never Hear 

They keep saying it cant be done, but William 
Baetz and David Hurd are busily filming HP. 
Lovecrafts Cthulhu Mythos. 

86 STARLOG/July 1979 


In The Cry ofCthulhu, a young American 
couple inherits an isolated mansion 
located in Germany's Black Forest. 
After moving into the old house, they soon 
learn that their new abode is situated near a 
barren battleground where hundreds of 
American and German soldiers perished dur- 
ing World War II. To their further dismay, 
they discover that the estate is swarming with 
mysterious, menacing beings . . . a horde of 
demonic creatures released by the manor's 
previous tenant, a deranged old sorcerer. 
During the ensuing confusion, the husband 
experiences a strange dream in which he jour- 
neys to the celestial city of Kadath where he 
encounters a bizarre race of Elder Beings. 
The Beings attempt to communicate to the 
uncomprehending hero a sinister plot to af- 
fect the release of Cthulhu: one of the dread 
lords of the Great Old Ones which were ex- 
pelled aeons ago from Earth by the opposing 
Elder Beings. Should Cthulhu be freed, the 
protagonist is warned, he will cry out in de- 
fiance of the Beings, shattering the astral 
chains which fetter the Great Old Ones. 
Unleashed, the Old Ones will descend from 
the void and resume their tyranny over the 
world once more. 

The publication of H.P. Lovecraft's The 
Call ofCthulhu in the February 1928 issue of 
Weird Tales signaled a radical departure from 
the traditional gothic-horror fable. By 
melding together the best elements of science 
fiction and weird fantasy, Lovecraft lifted his 
readers out of the reach of mundane, provin- 
cial vampires and werewolves and plunged 
them into a universe inhabited by the Great 
Old Ones, an eldritch hierarchy of monstrous 
godlike entities from another space-time con- 
tinuum. Lovecraft's cycle of tales revolving 
around mortal encounters with Cthulhu and 
the other Great Old Ones so inspired his con- 
temporaries that they used his pseudo- 
mythology as a theme for their own stories. 
Today, 50 years later, writers from that 
original "Lovecraft Circle," as well as new 
authors who began their careers long after 
Lovecraft's death in 1937, continue to weave 
their threads of imagination into the macabre 
tapestry of what has come to be known as 
"The Cthulhu Mythos." And now, with the 
launching of Cinema Vista's first major 
feature film— The Cry of Cthulhu— it seems 
that the tradition witl finally reach the 

Building Onto the Mythos 

"Lovecraft encouraged other creators to 
take his mythos and add to it, to build onto 
it," explains William Baetz, co-producer of 
the film. "I consider us just that— other 

Right: One of the evil horrors lurking in 
the German countryside. Cthulhu, the ulti- 
mate demon of darkness, will not be shown. 

creators who are building onto his mythol- 
ogy. Instead of using the medium of the 
printed word, we're using the film." 

"Cthulhu does not make an appearance," 
Hurd states simply. "I do not think Cthulhu 
should ever appear in any Lovecraft film. 
Cthulhu should always remain the unseen." 
Nevertheless, Hurd promises that Lovecraft 
aficionados will not be disappointed in the 
final fruit of his labors. "You will see the 
three sides of the Universe: You will see the 
world of Cthulhu, the world of the Elder Be- 
ings and you see our world— caught in the 

Initially conceived as a low-budget, local 
production, numerous postponements, from 
1974 to 1976, due to seemingly insurmount- 
able financial obstacles, eventually convinced 
the producers that the fiscal situation in their 
home state of Michigan was somewhat less 
than conducive for movie making. Finding 
themselves at an impasse, co-producers Baetz 
and David Hurd took the screenplay and ac- 
companying artwork to the West Coast with 
the hope of selling the property and using the 
material gain to develop their fledgling film 

Hollywood's Enthusiasm 

Happily, however, they were met with so 
much enthusiasm from Hollywood execu- 
tives that hard-selling the laboriously 
wrought movie material proved to be un- 
necessary. Deciding to revive their original 
plan of producing Cthulhu under the aegis of 
Cinema Vista, Hurd and Baetz revamped and 
expanded the screenplay for a major treat- 
ment. With the aid of executive producer Ceil 
Armanda, the project was finally able to 
secure the once-elusive financial backing; a 
formidable amount of $7 million — certainly a 
far cry from the $700,000 budget envisioned 
for the film during its Michigan days. 

"It isn't a matter of getting a bunch of 
money, so let's do a whole bunch of special 
effects that cost a lot more," Hurd says. 
"The money is enabling us to do things that 
we were not able to do before. Originally, the 
film was going to be shot in Michigan, using 
local talent and a star for two weeks. We 
couldn't even go into building any kinds of 
sets, we couldn't use any animated creatures 
to speak of. Now we're able to show things 
that before were more or less alluded to with 
screenplay and graphics." 

Sanctioned by Lovecraft's publishers 
Arkham House, Hurd's original script, writ 
ten in collaboration with Mary Ann Hurd, 
was surprisingly not inspired by the Cthulhu 
mythos but by a documented incident of 
psychic phenomenon. 

"The original concept came about in 1969 
when I was working on a low-budget 
feature," Hurd recalls. "A friend of mine 
brought me a small newspaper article about 
an area in Malaysia where a battle in World 
War II was fought. This field where a lot of 
people, died was known for strange occur- 
rences: people would get violently ill if they 
walked along the battlefield; they'd get 
nauseated, experience extreme headaches, 
get paranoid and go screaming into the night 
and so forth." 

From this sprang a rough gothic scenario 
of a young couple in an ancient manse, 
besieged by devils derived from the satanic 
elements of the Christian mythos rather than 
the Lovecraftian lore of Cthulhu. At that 
point, during the early 70s, the raw, untapped 
potential of the Cthulhu mythos began to 
manifest itself. 

"When I actually started writing the 
story," continues Hurd, "I found that the 
Cthulhu mythos seemed to tie all the ingre- 
dients and the different elements we wanted 
together. . . . Cthulhu just kind of reached 





5^< - 


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■>&* A* 

*-'"%£28* ■ _ 

■ **^§£ 9f ^ 


STARLOG/ July 1979 87 

out his tentacles and took over the whole 

Like any dedicated Cthulhuean, Hurd was 
not content to rest his laurels on a merely ade- 
quate screen treatment of the mythos, but 
decided to take the opportunity to answer 
several mysteries surrounding the mytho- 
logy — as well as adding an innovation of his 
own design. 

"We gave more credibility to the Cthulhu 
mythos," Hurd elaborates, "in the respect 
that — from a fictional standpoint — for 
countless hundreds of thousands of years 
there have been all these sorcerers striving to 
bring back Cthulhu and his hordes, but none 
of them were ever successful; some came 
close, or some would open a small part of the 
gateway, but never enough to create a 
passageway between the two dimensions. I 
always felt that this was a weak point in the 
mythos, so what we did is suggest that the 
reason no one has been able to succeed in 
opening the threshold throughout time is that 
they have been appealing to the wrong 
source; they had been appealing to Cthulhu 
himself when there was actually an unknown 
power on Earth which they should have been 
invoking in order to open the gateway." 

However, to reconcile the script with the 
mythos as Lovecraft conceived it, a rationale 
was required to support the existence of this 
"unknown power." Hurd found just such a 
rationale in one of Lovecraft's best-known 
stories, The Shadow out of Time. 

An enigmatic tale, The Shadow out of 
Time tells of a great war waged millions of 
years ago between the Elder Gods (the nar- 
rator refers to them as the Great Race) and 
the Great Old Ones for supremacy of Earth. 
With sophisticated weaponry created by their 
starborn science, the Elder Gods ultimately 
triumph over the Cthulhu host, relegating 
them to a fate unknown. Their victory, how- 
ever, is not complete, for some dark 
mysterious force — which the Gods were vir- 
tually powerless to destroy — remains. Re- 
signed to their impotence in the face of this 
power, they secret the thing away in a deep 
subterranean vault, where it lies dormant, 
awaiting the day of its resurrection .... 

"And," Hurd says, "our story deals with 
the man who discovers the final key to the 
secret of this force. He is a German Nazi who 
is completely demented from the war and has 
a twisted hatred for mankind — and out of 
this he tries to resurrect this evil force. ' ' Hurd 
smiles conspiratorially at the implication that 
The Cry of Cthulhu will continue where The 
Shadow out of Time left off— perhaps the 
first time anyone has attempted to make a 
motion picture which is a sequel to a story 
which itself has never been filmed. 

Frustrating Dilemma 

Creating a convincing Lovecraftian at- 
mosphere, however, presents the producers 
with a frustrating dilemma inherent in the 
very literature they hope to convey on the 

Cthulhu's staggering special effects are in the hands of a talented and capable 
crew: Tom (Flesh Gordon) Scherman on miniatures; Lyle (Vortex) Conway is chief 
modelmaker; Craig (Galactica) Reardon on makeup; Ernie Farino, who recently exe- 
cuted the opening sequence for STARLOG's first film, is special visual supervisor. 

screen. "We've got passages of Lovecraft to 
work with like, 'The thing was so horrible and 
abominable, I can't even explain it!' " says 
Baetz. "Well, we don't only explain it — 
we've got to show it." To that end, while the 
visual appearance of these alien beings will 
depend heavily on the SFX people involved 
with the projects, Hurd and Baetz have bor- 
rowed a few concepts from other, more 
descriptive mythos authors. With the excep- 
tion of Brian Lumley, today's most prolific 
mythos writer, these other authors — Clark 
Ashton Smith, Robert E. Howard (creator of 
the sword- wielding hero, Conan) and August 
Derleth, the founder of Arkham House — 
were all members of the Lovecraft circle of 
contributors to the long-defunct Weird Tales 

Will the use of these writers diminish the 
Lovecraftian integrity of the film? Not at all, 
says Baetz. "In the middle of Lovecraft's 
design and conception of his whole Cthulhu 
mythology," Baetz points out, "he wrote a 
story called The Whisperer in the Darkness, 
which was the first time he brought together 
all the other elements of these other writers 
and put them into his work. So, okay, we're 
going back to basic Lovecraft — but the basic 
Lovecraft also uses and draws upon the con- 
cepts of other mythos writers. Therefore, we 
too are drawing on the concepts of these 
other writers." 

To direct their motion picture, the pro- 
ducers have signed on Wolfgang Glattes, who 
has garnered an impressive number of screen 
credits as assitant director for Cabaret, Willy 
Wonka and the Chocolate Factory and, most 
recently, All that Jazz. The hiring of Glattes 
was a well-calculated move, since he was bom 
in the region of the Black Forest, where loca- 
tion photography will begin this mid- 

Meanwhile, the producers are gathering a 
task force of SFX artists to create the visual 
and optical effects which will absorb at least 
$2 million of the film's total budget. How- 

ever, because of the overkill emphasis en- 
veloping the SFX aspects of genre films these 
days, they are reticent about the project's ef- 
fects, save to report that the film will 
showcase several new techniques applied to 
stop-motion animation. 

With Texas animator Ernie Farino, the 
producers are presently assembling an ela- 
borate effects studio — appropriately 
christened the "Nightmare Factory" — to 
house over a year and a half of post-produc- 
tion operations. Farino will direct and super- 
vise the Factory's crew, as well as animate 
several select sequences. Working with him 
on the film is chief character designer and 
modelmaker Lyle Conway, presently asso- 
ciated with Jim Henson and his Muppets. 
Also on the project is Battlestar Galactica 
character designer Craig Reardon, for make- 
up and appliance work, and slit-scan artist 
Shawn Phillips. Tom Scherman, well-known 
as the creator of Emperor Whang's castle in 
Flash Gordon, will be building the 

Depending on the movie's success follow- 
ing its completion in early 1981, Hurd and 
Baetz are casting an ambitious eye toward 
their future excursions in the Lovecraft 
mythos. Planned to be even more epic in pro- 
portion — both financially as well as cine- 
matically — the producers briefly and cagily 
discuss the next three episodes. 

"There's no way possible to get all the con- 
cepts we wanted to explore into the first pic- 
ture without turning it into a managerie that 
wouldn't make any sense," says Baetz. "So 
we had to expand it and that became a second 
film, and then that one was so long we had to 
divide it into two separate films." 

Reflecting pensively for a moment, Hurd 
says that the project "was a real challenge. I 
think the one thing that really got me going on 
this story was that so many people I was in- 
volved with in filmmaking said that you 
couldn't do Lovecraft on film — and I always 
felt it could be done. ' ' * 

STARLOG/7u/y 1979 

"Having heroically foiled the robbery of the Middleburg 
National Bank, Major Mars takes to the skies once again and 
rockets to his secret retreat, mere, high in the spectacular 
Rocky Mountains, Major Mars continues his never ending 
battle against the forces of evil 


The Further 
Adventures of 

Major Mars 

By DAVID HUTCHISON a character, was born 
on the stage of the Fox- Venice 
theater on a Saturday afternoon in 
1953. During the four years that Bob Burns 
appeared as the Major between screenings of 
cartoons and adventure serials, he enter- 
tained and enthralled audiences with contests 
and space stories. 

Officially known as the Revell Major Mars 
Club, Major Mars awarded Revell model kits 
as prizes for the games and contests that he 
would invent. "They were simple games that 
any kid could play, ' ' emphasizes Burns with a 
grin. "I always knew there was a little kid 
somewhere in the audience that wasn't quite 
as good as the other kids, because I was that 
way when I was a kid; I couldn't do anything 
right! I didn't want anyone to just sit there, 
afraid to try because he couldn't keep up with 
the other kids. So I would hold simple con- 
tests, like trying to whistle with a mouth full 
of crackers. 

Above: Major Mars describes his Planet 
Patrol Emergency Rocket Rescue Ring. Right: 
Mars rockets into his mountain hideaway. 


Above: Burns as the 
original Mars. The 
costume had to cover as 
much of Burns' 19-year- 
old face as possible. 
The prop was made by 
Paul Blaisdell for the 
movie Not of This Earth. 


iworld securit\ 


Above: Major Mars' secret 
mountain hideaway employs 
such heavy security measures 
as stern warning signs, 
fences and a guard who 
is perpetually asleep 
in the shack. 

"Or I would tell space stories ana have the 
kids in the audience supply the sound effects 
on cue. For example, when I mentioned the 
word 'rocket,' they would all chorus with a 
whooshing sound or a zing-zing when I men- 
tioned a ray gun. Audience participation was 
the key. The kids needed to be part of what 
was going on, instead of just passive 

At this early time in the mid 50s, Major 
Mars had not yet evolved to the more com- 
plete character that would mark his cinematic 
appearances. "He was a very mysterious 
character in those days, you couldn't even see 
his face. I had to disguise myself mainly 
because I was so young. The kids would more 
readily relate to me as a 'major' if they didn't 
suspect my true age— after all every kid 
knows that a 'major' is an old man! 

'Further," Burns continues, "I.was wor- 
ried about my voice. I had to fight to keep the 
pitch down. But the oxygen mask really 
helped. It muffled the voice, and the 
microphone gave a very echoey effect, sort 
of like talking into a waste paper basket —a 
very mysterious effect." 

"I wore a jet fighter pilot's helmet which 
covered everything except my nose and 
mouth, but I also wore an old oxygen mask 
which covered the rest of my fact. It gave me a 
very alien look, which I enhanced by never 
mentioning where Major Mars is from. The 
kids just seemed to accept my existence 
without any explanation." 

This is an important aspect of the character 
that Tom Scherman retained in his develop- 
ment of Major Mars as a film project. The 
character, as Scherman envisioned him, was a 
mysterious defender of world justice without 
a past and only the future of mankind to pro- 

Major Mars wrapped up as a stage 

production in 1957. It was 

not until many years later 

that the character would 

re-emerge in its fully developed. 

cinematic form. 

Above: Sparky and Marcia help Mars to 
his feet after crashing through the 
closed window of his hideaway. 

Cast & Credits 

The Further 

Adventures of 

Major Mars 

MajorMars BobBurns 

Sparky Glenn Johnson 

TheChief ArtLaing 

Marcia .... Kathy Roach Anderson 

Produced by: Bob Burns, Glenn 
Johnson and Tom Scherman 

Production Staff 

(in alphabetical order) 
David Allen, Jim Aupperle, Jon Berg, 
Douglas Beswick, Chuck Clough, Randy 
Cook, Bob Costa, Marianne Costa, Jim Dan- 
forth, Bill Hedge, Greg Jein, Robert Maine, 
Bill Malone, Mark McGee, Mike Minor, Joe 
Musso, Randy Robertson, Bill Scherman, 
Bill Taylor, Bjo Trimble, Russ Turner, Jan 
Vaughn, Joe Viskocil, Harry Walton, Keith 

Based on a character created by Bob 

*» •« 

Above: Mars' rocket plane 
blasts off from his mountain 
fortress. Left: Pretty Marcia 
Drake is abducted by Dr. 
Demon's robot henchman, 
while Mars confers with 
the President. Below: Tom 
Scherman created all of 
the stunning models and 
miniature sets for Major 
Mars. Griffith Observatory 
has been the location for 
so many SF adventure films 
since Flash Gordon that it 
had to be the location for 
Mars' mountain fortress. 

The driving force behind Major Mars 
as a film project is the multi-talented Tom 
Scherman. Both Burns and Scherman have 
long been fans of the old Republic serials and 
the era of SF adventure stories. Scherman 
had had for some years the idea for a parody 
of the old serials. He mentioned it to Burns 
while they were working on Burns' now- 
famous Hollywood Halloween shows (see 
starlog #18). Scherman thought the 
name Major Mars had just the right sort of 
ring to it and the pair began working on 
"wouldn't-it-be-fun-if" ideas. 

Finally the idea of transforming Major 
Mars from the kiddy matinee entertainer to 
the cinematic hero living in a secret mountain 
fortress high in the Rocky Mountains began 
to take shape. In 1973, Scherman decided to 
invest in the project seriously. The project 
would continue on an off-and-on basis 
whenever time and money would permit. 

After many discussions, the character of 
Major Mars began to take final form. "I see 
him as a cross between Oliver Hardy and In- 
spector Clouseau," says Burns. "He's a 
goof-up like Clouseau— always stumbling in- 
to things— but he has the ego and temper- 
ment of Ollie. He would love to save the 
world, but he's the last guy that should ever 
be let out of his house, because there is going 
to be absolute chaos wherever he goes. " 

Readers of starlog will be able to get a 
first-hand look at Major Mars, Sparky and 
the mountain fortress in starlog's Inter- 
galactic Picture Show, a theatrical release for 
the fall of this year. 

STARLOC/July 1979 91 






Fresh from his work 
on "The warriors," 
producer waiter Hill 
discusses his role in the 
making of "Alien." 


Mlien is not the initial excursion in- 
to the worlds of fantasy for co- 
producer Walter Hill. He also 
scripted and directed The Warriors, the 
controversial film that is still drawing 
crowds to the box office after four 
months in general release. In answer 
to charges leveled by some social 
critics, claiming that the film has 
caused a resurgence in gang vio- 
lence in America, Hill points out 
that it was never intended as 
anything other than an 
action-oriented adventure 
fantasy. "My whole inten- 
tion in making The Warriors 
was to create a comic book 
on film," says Hill. "The 
characters and the action are 
derived from that concept. The 
violence is extremely stylized and 
bloodless. And I was especially 
surprised that none of the press 
picked up on its elements of self- 
parody. The audiences always get 
this right away, but our solemn pon- 
tificators of the press have stuck it 
with this label of 'gang movie' and 
can't see beyond it." 

If the press could not see the fantasy 
elements in The Warriors, Alien 
should present less of a problem, since 
it offers spacecraft and the cosmos in 
place of subways and New York City. 
Alien is produced by Hill in coopera- 
tion with David Giler and Gordon 
Carroll, his partners in Brandywine 

Productions. Beyond their billing as co- 
producers, Giler and Hill had a greater hand 
in the making of the film than the credits will 
show— though Dan O'Bannon is given sole 
credit for the screenplay, Giler and Hill 
adapted his material for the final shooting 
script. As reported in last month's starlog, 
O'Bannon brought the screenplay credits 
before the Writer's Guild arbitration panel in 
an effort to have Giler's and Hill's names 
dropped. As it turns out, O'Bannon was suc- 
cessful in that effort. 

Comments Hill: "I've made the statement 
before that on-screen credits often have very 
little relation to who did what on a film. In 
this instance, the Writer's Guild has a rule 
whereby, in a case like this, you have to show 
that 70 percent of the material was your own 
and brand new in kind. The fact that David 
and I carried the O'Bannon screenplay 
through five drafts to the final shooting 
script is immaterial. And of course these 

things are very difficult to quantify. 

"One thing worth remembering is that 
Dan's screenplay had been making the 
rounds for quite a while and no one had 
bought it. Fox had seen it, and with Dan's 
original conception of a low-budget picture, 
they really weren't abdut to consider it. I 
originally read the script in the summer of 
1976, and I saw qualities in it that the studios 
hadn't, intermsof the story itself. I presented 
it to my partners, saying that, if it were done 
on a sophisti cated level, rather than as a low- 
budget picture along the lines of The Blob, 
we'd have a truly extraordinary film. 

Above: Dreaming of alien riches, Executive 
Officer Kane (John Hurt) volunteers to 
explore the deep vertical shaft leading 
from the bridge of the alien craft. Right: 
The Nostromo's crew, fresh from hypersleep. 
Some nudity was removed from early scenes 
in the film's final cut. 

Dallas (Tom Skerritt) assembles tripod and winch for Kane's descent. The third team member is Lambert (Veronica Cartwright) 

"The real genius of the O'Bannon-Ron 
Schussett story was that they had worked out 
the details and plot twists for this story of a 
space monster that could not be killed 
without endangering the astronauts' own life 
support system. At the same time, this terrible 
beast is knocking them off one by one, 
Agatha Christie style— the stuff of real 

Hill freely admits having little background 
in science fiction, though he developed a pas- 
sion for films of all kinds during his 
childhood in Long Beach, California. He 

began to plan for a career in film while a stu- 
dent at Michigan State University. After his 
graduation, he worked in a number of 
unrelated fields, including years spent as an 
oil field worker and on a construction crew, 
while he completed his first screenplay. The 
script, though never produced, led to his first 
work in films. As a young screenwriter he 
worked with such notables as Sam Peckinpah 
(The Getaway) and John Huston (The 
Macintosh Man) before he directed his first 
film, Hard Times, starring Charles Bronson. 
It was shortly after the completion of Hard 


fight now, Alan Dean Foster's novelization of Alien is already on the stands. The 

, _kComing months will bring a wide proliferation of Alien ware, in the largest mer- 
chandising campaign ever mounted for an R-rated film. 

Soon to appear is Topps' series of 99 gum cards, featuring several shots of the alien 
itself. The storyline is serialized on the back of each card. The leader in Alien merchan- 
dising is likely to be Kenner toys, which has announced plans for Alien: A Game of 
Escape, an Alien movie viewer and an 18" action feature of the beast— with push- 
button operated jaws and tongue— the world's ugliest doll. Avon paperbacks will be 
publishing a large-format book recounting the story of the film in still photos this Oc- 

Other licensees intending to cash in on the anticipated clamor for Alien merchandise 
include the Roach Co. (T-shirts), Cooper (Masquerade costumes), Fundimensions 
(poster sets), HG toys (jigsaw puzzles and an Alien mobile) and the Wilker Co. (pa- 

For the most devoted Alien fans, Don Post Studios is planning a limited-edition 
Alien mask— only 500 will be produced, and they will sell for $500 each. 

Times that O'Bannon's Alien script first 
caught his attention. 

"Fox was notably skeptical when we 
brought it to them. It's much more difficult 
for studio people to see the value in this sort 
of thing than in, for instance, a story about a 
housewife having a nervous breakdown. 
After David and I reworked it, they were 
more able to see the story's merits— enough 
to invest $10 million in it." 

Originally it was expected that Hill would 
direct the film as well, but his commitment to 
The Warriors prevented it. David Giler 
recommended Ridley Scott as director after 
seeing his first feature film, The Duelists. 
Paramount Pictures obligingly arranged 
screenings for the other Brandywine part- 
ners. It was Scott's flair for dramatic visuals 
that convinced the producers that they had 
found their man. 

"Scott is a graphic artist himself," says 
Hill, " and executed a full storyboard for the 
film. Most of the film's visual concepts 
originated with him. For instance, in design- 
ing the space suits, it was Scott's idea to adapt 
the design of Samurai suits of armor. He gave 
his own initial sketch to Jean Giraud, who 
then used his own personal style in inter- 
preting Ridley's concept. Of course, H.R. 
Giger was another major influence on the 
look of the film." 

Both Dan O'Bannon and Ron Cobb have 
been quoted as saying that the producers were 
initially opposed to their idea of hiring Giger. 
According to Hill, Giger was not initially ap- 

94 STARLOG/7u/>> 1979 

Problems for the Nostromo. Right: Engineers 
Parker (far right) and Brett both feel 
cheated out of their share of the ship's 
bounty. Center left: Kane, in the bowels 
of the alien ship, is about to discover 
the pod-like eggs carrying the prelarval 
beast. Center right: Only Science Officer 
Ash knows the secret of S.O. #937. Bottom: 
Lambert and Kane prepare for planetfall. 

proached because Fox had not at the time set 
a budget, and a director had not yet been 
selected. As it was, a lot of costly preproduc- 
tion work was abandoned when Scott came in 
and revised the film's visual approach. 

"Originally, O'Bannon wanted Giger for a 
more limited purpose. His original script had 
the Nostomo's crew discover a huge pyramid 

on the alien planet— Dan was deeply into 
pyramidology at the time. At the base of the 
pyramid they would find an inscription, and 
that's what Dan felt Giger should have 
designed. At that point the monster was 
planned as a squid-like creature. The visual 
conceptions of the alien and its planet that are 
used in in the film were jointly developed by 
Giger and Ridley." 

Whatever the source of the creative ideas 
behind Alien, one thing is sure; people 
like O'Bannon and Cobb, who previously 
worked together on Dark Star, Star Wars 
and an ill-fated production of Dune, have a 
knowledge of science fiction, and a loyalty to 
the SF audience, that is rare in Hollywood. 

Though all movies might be considered 
"fantasies" of one sort or another, for 
Walter Hill, A lien is a one-time foray into tru- 
ly "alien" territory, however successful it 
proves to be. * 

STARLOG/ July 1979 95 




Part II 

SF Rising from the Descent of Man 
-Through the Gateway to Prehistoric Times 

Our backward looks, thanks largely to 
Darwin, are now split into the 
separate but related disciplines of 
physical and cultural (or social) an- 
thropology. The physical branch yields such 
imaginings as encounters with Bigfoot, the il- 
lusive Abominable Snowman and The 
Creature from the Black Lagoon; while the 
cultural branch takes us back through 
primitive societies and into the remote 
shadows illuminated by Chad Oliver and 
others clocking the forward march of 

Burroughs' great Tarzan represents the 
end of physical evolution (a fully modern 
Homo sapiens) and the start of cultural 
growth (as he advances from the intuitive life 
mode to the conceptual). A single image in 
the film 2001: A Space Odyssey symbolizes 
this same dividing line: when the man-ape 
first stands erect and exuberantly flings his 
first invention — a bone used as a tool — into 
the air ... and it segues into the ultimate 
achievement of contemporary man — an or- 
biting space station. Another film that deals 
with that twilight zone between physical and 
cultural anthropology is One Million 
B.C. — with humanity, newly emerged from 
the caves, pitted against Harryhausen- 
animated dinosaurs. 

Before Darwin (and other evolutionists not 
so famous), it was assumed that species were 
immutable — handed down fully developed 
from the Book of Genesis. In his Origin of 
Species, Darwin insists that each species 
originated from simpler ancestors, and so on, 
all the way back to the natural formation of 
the chemistry of life. Many were outraged by 
the idea. But many were fascinated. Science- 
fiction writers took to evolutionary theory 
and speculated: What if, in isolated areas, 
things did not change? 

. . . Professor Challenger threw up 
his hands to still the commotion, but 
the movement alarmed the creature 
beside him. Its strange shawl un- 
furled, spread and fluttered as a pair 
of leathery wings. Its owner grabbed 
at its legs, but too late to hold it. It 
had sprung from the perch and was 
circling slowly around the Queen 's 
Hall with a dry leathery flapping of 
its 10-foot wings, while a putrid and 
insidious odor pervaded the room. 
The cries of the people in the 
galleries, who were alarmed at the 

near approach of those glowing eyes 
and that murderous beak, excited the 
creature to a frenzy- Faster and faster 
it flew, beating against the walls and 
chandeliers in a blind frenzy of 
alarm. "The window! For heaven 's 
sake, shut the window!" roared the 
Professor from the platform, danc- 
ing, and wringing his hands in an 
agony of apprehension .... 

So wrote Sir Arthur Conan Doyle in The 
Lost World (1912), in which archeologists 
return from a prehistoric plateau with a 
pterodactyl in tow. That window in Queen's 
Hall was not closed in time, and out flew the 
beast— and the inspiration for numerous 
movies, from silent days on, of Doyle's tale. 
Out flew, also, the inspiration for King Kong 
and other stories about prehistoric monsters 

humans, the fittest is the most perceptive, the 
most creative, the most rational; for humans 
deal with their surroundings not by teeth and 
talons but through the use of tools, which 
means: their brains. Viewed this broadly, 
Darwinisms pervade all of science fiction. But 
the idea seems most focused in the work of 
Chad Oliver. 

Dr. Oliver is professor of anthropology at 
the University of Texas. His science fiction, 
from the 50s to the present, romanticizes his 
professional concerns. Many of his stories 
reflect a classic situation of social an- 
thropology: when a civilized human enters a 
primitive tribe and presents the wrong person 
(say, the witch doctor rather than the chief) 
with a futuristic tool (say, a steel axe). Oliver 
would set such a situation on Venus, or in the 
remote past through time travel. 

In The Winds of Time (1957), Oliver tells 

ii Darwin insists that each species 

originated from simpler ancestors. 

Science-fiction writers took to 

evolutionary theory and 

speculated: What if, in isolated 

areas, things did not change.* 9 

in New York or Tokyo, or wherever. 

Darwin described the mechanism of evolu- 
tion as natural selection. The survival of the 
fittest. Species inherently unsuited to certain 
changes in climate and environment died out 
when those changes occurred. Species whose 
constitution could accommodate the changes 
survived. (Darwin did not contend that a 
species needing, say, special coloring to allow 
it to escape new predators, miraculously set 
about to transmute — adapt— itself into a 
species with that coloring. That idea came to 
us through unsophisticated textbook and 
documentary-movie writers, many of whom 
are still making a good living scripting an- 
thropomorphic wildlife shows for TV.) 

H.G. Wells dabbled in unnatural selection 
for The Island of Dr. Moreau—m which a 
scientist hastens and directs the alteration of 
species as he transmutes beasts into men, 
through painful and terrifying surgery. The 
surprise, for Dr. Moreau, was that his beast- 
men began to think. 

The survival of the fittest. Applied to 

the story of an Earth insufficiently evolved 
culturally to assist an alien in preventing in- 
tergalactic war. And just a year or so ago, in 
Giants in the Dust (1976), he tells the story of 
a future culture so accustomed to effortless 
perfection that it is in danger of losing its will 
to live. A misfit— a bright, intelligent, un- 
predictable person — is chosen to lead a group 
which awakens on an unknown primitive 
planet, a group in search of the wrong turn 
their cultural evolution took. The trick: all of 
them have utterly blank minds; their 
memories of civilization have been erased. 
And they're being watched. 

The ideas of Darwin have been absorbed 
and used by every science-fiction writer of 
modern times. Most writers see the line of 
human evolution as a continuum, a corridor 
through time, with today's human standing 
roughly in the middle. Not only can we look 
back to the very dawn of life, we can look for- 
ward to ... . * 

Next month: The Future Evolution of Man. 

96 STARLOG/ July 1979 



AW ,v ■ S 


_. * 




\Vm\ ■ 


*mK& ,i 


King Kong exemplifies the idea of evolution gone wild, a theme often addressed in numerous science-fiction stories and movies: 


I o paraphrase the tide of this 
issue's "Star Trek Report," 
three years down and the sky's 
I the limit. Now, I mean that in two dif- 
ferent ways, so I'd better explain. 
I These past three years, working on 
I starlog, have been the most exciting 
I period of my life; it is a dream come 
true. I grew up with science fic- 
tion — started reading it when I was 
five years old. That same year my 
parents bought a TV set (the first in our apartment building) 
and I got hooked on Captain Video. 

During the ensuing three decades I have read and 
seen more science fiction than I would ever have believed 
possible. And, apparendy, this is only the beginning. In the 
past couple of years there have been more books published 
and more major SF films produced than ever before. The 
"SF fad" has turned into a fact of life, starlog has grown 
with this trend and will continue to dp so. We are now the 
number one SF media magazine in the world and, during 
the coming year, we will continue to produce issues that 
make it clear why starlog is considered "the source." 

Also coming your way during the next six months are at 
least four major SF productions: United Artists' new 007 
space spectacular, Moonraker; Disney Studios' largest- 
budgeted film ever, The Black Hole; Paramount's long- 
awaited Star Trek— The Motion Picture; 20th Century- 
Fox's sequel to Star Wars, The Empire Strikes Back. 

The production costs on any one of these projects would 
have been enough to fund a half-dozen SF films only 10 
years ago. Herein lies the rub. The cost of making an SF 
film today has gone totally through the roof. Much of this 
is due to the "let's top Star Wars" syndrome, and the 
effects have been felt on televised SF as well. The first 
season of Battles tar Galactica cost approximately $1 million 
per episode hour — more than twice the cost of most other 
successful TV series. The danger in all this is clear and im- 
minent: the quality of a product is being equated with its 
cost. If the studios and networks accept this line of reason- 
ing (as they seem to be doing), many top-quality SF pro- 
jects will never get off the ground. 

Compare the two most popular SF films of this past 
year: Superman — The Movie and Invasion of the Body 
Snatchers'. The cost of the critically acclaimed Body 
Snatchers was less than one-fifth that of Superman; did 
Superman provide five times the entertainment? (This is 
not a put-down of Superman. I've seen it three times and I 
love it.) I don't want to see the quality of scripts, direction 
and acting take a back seat to the action and SFX of an SF 

What we need now is another "boom" period for low- 
budget films, such as there was in the 50s when many of 
the SF classics were produced on modest budgets. There 
are so many fine young, talented filmmakers around now 
that the best of SF is indeed yet to come. But they must get 
a chance. 

What can we do to ensure this? Be demanding; be out- 
spoken. Science fiction is a multi-million-dollar business 
now and its audience has clout. SF is here to stay. . . how 
good it is depends on the quality we demand from its 


As the December premiere of Star Trek — The Movie 
draws closer, starlog takes a closer look behind the 
scenes of the production. 
We start with an in-depth interview with Trek production il- 
lustrator Mike Minor. Minor not only talks about the upcoming 
film and his work on the TV series, he relates some fascinating 
anecdotes about what an art designer creates for a show and how 
it winds up looking on screen. In addition, Minor has given 
starlog a beautiful painting of the Enterprise warping out 
of orbit which will be fully reproduced in issue #25 . 


>ut that's only the begjn- 

Jning. . . Bally, the leading 
manufacturer of pinball ma- 
chines, has just released their 
latest creation— Star Trek pin- 
ball. One of these full-size, 
professional, 4-player games (worth $1,800) will be delivered to 
the 1st prize winner of starlog's special pinball art contest. All 
the rules, official entry form and a list of dozens of exciting Star 
Trek prizes for the runners-up will be announced next issue, 
along with a fascinating article on famous pinball artists and a 
preview of some new Bally designs. This is absolutely the most 
spectacular art contest ever in the wonderful worlds of science 
fiction and pinball. 


We'll have an interesting look at the secrecy that has sur- 
rounded the Trek production; an interview with SF 
luminary Ray Bradbury, who talks about the upcoming TV 
adaptation of Martian Chronicles; an article by miniature FX ex- 
pert Brick Price on the problems of lighting the scale-model 
Enterprise; an interview with SF sculptor Dale Enzenbacher and 
full-color reproductions of some of his staggering bronze 
miniatures. And, to top it off, we'll cover the winners of our first 
annual Short Film Search. 

TUESDAY, JULY 3, 1979 


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